Stevie's interview with Jim Ladd (1st Aug. 2011)

Subject: Stevie Nicks
When did it air? 1st August, 2011

[VO] Stevie Nicks.

[In Your Dreams]

Jim Ladd: Lord have mercy, what a track. That is the title cut from Stevie Nicks’s brand new album ‘In Your Dreams’, and welcome to the show, Ms Nicks. 

Stevie Nicks: Thank you, Mr Jim, so much for having me. I’m so, this is the interview I’ve been wanting to do since May 3rd, since the record came out. 

JL: Aww, aren’t you sweet to say it. I know it’s been a long day. You’ve been doing a lot of stuff today but you just look bright-eyed and bushy-tailed so…

SN: Well, for you. I got up at two o’clock this morning to do press back east ‘cos it’s three hours later and so I was, uh, in make-up and hair and sitting there ready to go at ten minutes to seven this morning and you know I don’t go to bed ’til between three and four. So I got up when I go to bed. 

JL: Right.

SN: So I tried, so I took my little sleeping pill at like 7.30. It was insane last night. I’m like, “Okay, this is crazy.” But I did it, and I was very proud of myself that I managed to actually go to sleep and get up, you know, with some sort of a good mood going, and so we’ve just been going all day today and this is the cream on the top of the cake.

JL: Aww, you’re so sweet to say. And, by the way, let me just get this out of the way and then I will not dwell on this for the rest of the interview but, uh, obviously you and Jackson Browne have made some sort of pact with the devil because you do not seem to age. You look just fantastic. 

SN: Dorian Gray. *laughs*

JL: It must be, it must be. Whatever it is, it’s working for ya cos you look great.

SN: Thank you. Jackson and I have that picture up in our attic. *laughs*

JL: Well, I’d buy it, I’d buy it. Because the two of you, it’s like for god’s sake, can’t you just be normal people and -

SN: Well, thank you. 

JL: - have a wrinkle or something? C’mon.

SN: Thank you, Jim. I work at it.

JL: Well, you look great.

SN: Thanks.

JL: Um, we just heard the title track from your new album. You must be pretty proud of this thing. 

SN: I’m pretty proud of it. I’m really proud of that song. Closer to the mic?

JL: Please.

SN: I’m really proud of that song and when I hear it, um, I think about when we were just doing the track and I said to Dave, I said, “This song’s like a, it’s like an animal. It’s like a running lion through Africa or something. It never stops, from the beginning to the end.” And that’s what I especially love about is that it’s so high energy. And when we wrote it, I just said to Dave - He came in one day and I said, “Dave, we need a fast song. We just, you know, we need a fast song.”

JL: Yeah.

SN: “So we got a lot of cool songs that are mid-tempo. We need a fast song.” And he just went “Da-da-da-da”, and I went, “Okay, that’s it!” and it was like, you know, twenty minutes later, it was written. 

JL: Wow.

SN: We just have a poem that we liked and we just, that’s how fast it happened. That’s how fast all these songs happened. 

JL: Like you had an existing piece of lyrics -

SN: I did. 

JL: And he just heard this and went that’ll work. 

SN: Right.

JL: Wow, that’s fantastic. How long did it take you to make this record from conception to final recording? 

SN: We started, um, right after the 2010 Grammys so that was like the second week of February 2010, and by May 1st - cos I have it written in a brand new journal that’s started May 1st - we have, we have our fourteen songs. Um, so we had, we not only had the seven that Dave and I had written but we had the five that we’d dug out of, you know, the trenches and, um, a new one that I had written and Annabel Lee dug from, you know, I wrote that when I was seventeen. Anyway, we had my five and our seven on May 1st, and then we took May off because Dave got stuck in the volcano - of course he would get stuck in the volcano in London - so we had to wait for him to get out of the volcano and come home. So we started up again, um, June 1st and we, uh, went into Village Recorders for only two weeks and did the drum tracks because even though we did this at my big two-storey house, we could do just about everything but the crashing drum tracks. Because the neighbors were extremely understanding and, but that would’ve brought the police on us. So we actually spent not even quite two weeks in a real studio, and the rest of it was all done at my house. 

JL: Well, I’ll tell you, the actual physical sound of it is so amazing, that kinda surprises me cos it’s a wonderful production sound. 

SN: Well, you know, one of the great things is that I live in a house that has, um, it has a beautiful staircase. And when you have one of those staircases that starts and the kind of staircase that people want to get married in, that goes up and goes in a round circle. It’s like the staircase, it’s fancier but the staircase that Led Zeppelin had at The Grange. And, you know, we’ve all seen, um, documentaries of that where they put, um, John in that stairwell to do his drums, right? And so, and also they put everybody in there. And so we, Dave and I, looked at that and went, ‘You know what, this is like the best echo chamber ever.’ It’s basically, once you get up the stairs it’s another storey, so it’s three storeys, and so you have that pipe of, you know, a circle that goes up for three storeys. So we did all the vocals in there, all the background vocals in there, a lot of the guitar, you know, put the amp in there and played the guitar in the living room where our console was but then put all the amps in that magic circle. And that’s where we got that amazing sound.

JL: Wow.

SN: So my whole entryway was kind of the recording area, and then the living room was the studio.  So we, it was, you know, it was so easy because it was a 1938 house, you know. It had these great bones and big thick walls and, you know, we made a lotta, lotta noise in there. I don’t want you to think we weren’t making noise because we were, but the drums would’ve killed us in the neigborhood so yeah. But, um, but we played guitars so loud that I’m sure you could hear it all the way to the other side of Santa Monica and nobody ever - I must live in a really understanding or very rock’n’roll neighborhood because nobody ever complained. But it was, you know, it was like, I bought this house five years ago and I was sorry I bought it when I bought it cos it was just too adult of a house. I thought, “I really have to be an adult to live here, and it’s just me and my dog and I can’t do this. I can’t hear the ocean.” And I kept the house because, of course, the market was, you know, not such that I was going to turn around and sell it four days later, and so I kept it and come to really realize, at the beginning of last year, why I had bought this house. I had bought this house to make this record in. 

JL: Aww. Well, that’s good. And not everyone, you know, who’s, people who are not a musician would probably walk through that magic circle a thousand times and never realize -

SN: And never think.

JL: - that it’s perfect. Yeah. Well, I’m glad you did. Let’s talk about ‘Secret Love’, which was the first single.
SN: Right.

JL: From this CD. This is, um -

SN: 1975.

JL: 19 - What do you mean, 1975? 

SN: I wrote it in 1975. 

JL: Get out. 

SN: No. I did. I did and it must’ve been such a secret, this song, that - I think I had it on a cassette and just did a little piano on the side of it and then I probably, you know, it was probably left laying on the counter in the living room, and I think, uh, then I put it in a box and sent it to my mom. I never played it for Fleetwood Mac. I don’t know why that is cos I honestly don’t remember and, um, then when we were at some point making this record, I said, “You know, I have this song called ‘Secret Love’ and I remember this kind of part that goes ‘must secret loves secretly die’ and the ‘Ooh-ee, listen to me’” and Glyn Ballard said, “Well, where’s that song?” and I said, “Well, I don’t know exactly where it is but I’ll send Lori home to look through the vaults and see if she can find it.” And so she went home, couldn’t find it. Come to find out that somebody had probably stolen it for a day, put it on another cassette, put the cassette back before I managed to send it home to my mom, and there it was on YouTube. So my assistant found it on YouTube. I’m like I’m not sure to be thrilled about that or like not thrilled about it.

But anyway we had it, so we recorded it, and it went from - It’s very similar to what it is, you know. Dave just kinda said, “We’ll just add a few electronic instruments to it cos it kinda is cool just like it is.” So that then became ‘Secret Love’ and, but then I’ve been telling everybody, “I don’t remember what it’s about,” and I don’t. I don’t know what it’s about. I don’t really remember. It was so long ago. And then I see Benmont the other day and Benmont goes, “So, ‘Secret Love’.” And I’m like, “What’re you talkin’ about?” He said, “Well, we actually a track of ‘Secret Love’ for ‘Bella Donna’.” And I’m like, “No, we didn’t” and he goes, “Yeah, we did. Cos I know the song. When it came on, I could sing along to it so I know the song. We did try to record it. You and I and Jimmy and Lori and Sharon, when we lived at Bill Cosby’s house, we sat at the grand piano and we played that song. And for whatever reason, you know, you can only have so many songs on a record, that song did not make the ‘Bella Donna’ cut.” 

JL: Wow.

SN: So now I’m really not sure. 

JL: Well, let me - Wow, that’s a fascinating story. 

SN: It is a secret. 

SN: Love. *laughs*

JL: But then let’s have you look at this - This is fascinating. Let’s - I’m going to quote a lyric here and then maybe you can look at this since you don’t know what it means.

SN: Right.

JL: As a listener. 


JL: Like a regular, like somebody who’s just listening. Cos I find this a fascinating lyric and this is, if you don’t mind, it says: “I’m not asking for salvation from you / I’m just asking to be saved for awhile / In a timeless search for a love that might work / Still we’re paying the price.” So the salvation for a moment, we’ve all needed that. At some point in our lives.

SN: Yes. 

JL: And there is, um, and I like the way that this says, ‘I’m not asking for forever. I just need a little salvation.’ 

SN: Right.

JL: At the moment. 

SN: Right.

JL: Let’s get that clear. Uh, but what is, what do you think, listening with that perspective now, the price is that you had to pay for that moment of salvation?

SN: Well, in the first place, in the first verse it says, “I am not asking forever from you / I’m just asking to be held for awhile.” Well, I never wrote the second verse. So after we recorded the song I had to go back to the drawing table and write a second, those two lines. Um, I could go back to the -  “In a timeless search for a love that might work” could remain the same but I couldn’t say that, I couldn’t say that “I’m not asking for forever from you”, you know, and I’m like, “Well, I’ve never going to beat that. It’s been like, what, thirty five years? So I’m not going to beat that. How am I going to sing something better than ‘I am not asking for forever from you’?” So I thought and I thought and I thought and one day I just thought, “You know what, ‘I am not asking salvation from you / I’m just asking to be saved for awhile.’” I think it is just that love is fleeting, and I knew then whatever this was about, and I truly don’t remember exactly who this was about, but whoever it was about, I knew that this was not a relationship that was gonna last. And maybe this is somebody that was with somebody else and, you know, sometimes you kind of just know the doom gods are there looking at you and just don’t go there. Um, so I think that the salvation was, that was 2011. 2010. That was my take on it in 2010. My take on it in ’75 was “I’m not asking forever.” Now it was “I’m not asking for salvation” so I don’t know. You tell me. 

JL: Well, it’s interesting because I think that one, because we’ve all been in that moment of need and hopefully we’ll all been the person who is providing the comfort.

SN: Right.

JL: You know, everybody plays both roles at certain times. But I think that even though you, you know, it’s upfront, “I’m not asking for forever”, the - um, what am I looking for? - the help that came, for want of a better word, that is something that is lasting. It’s in your heart. 

SN: Right.

JL: You may not remember who it was -

SN: Right.

JL You just know, ‘Well, that was a moment of kindness.’

SN: Right.

JL: ‘Thank you for the moment of kindness.’

SN: Yes.

JL: Alright. Let’s hear ‘Secret Love’ from Stevie Nicks on KLOS.

[Secret Love]

JL: You know what, I got so into that damn song that I didn’t even realize it just ended. It’s such a great tune. Yeah, and I was just so into it I didn’t even have my headphones on or anything. That’s beautiful.

SN: And I just want to tell you one really interesting thing about that is that of all the songs on this record, that truly is the song that I know least about. 

JL: Isn’t that interesting?

SN: It’s the one song that I honestly can’t talk too much about because I just really don’t that much about it. And there is that, the one line that says, “You need some rest / But we’ve already past it / I cried”. And that says to me: ‘But we already know it’s over.’ 

JL: Right. 
SN: It’s like, ‘It’s done’. Sadly. ‘It’s done.’ So it was for that moment but again, somebody could come to me and say - And I have asked people, believe me, that were around then “Do you remember the specifics on this song?” and nobody seems to remember anything about this song. So it’s kind of a, it’s kind of creepy, actually, because it’s - So it’ll go down in history as the most mysterious song that I’ve ever written. 

JL: I kinda wouldn’t - if I’d written that and that had happened to me - I’d kind of leave it alone. I like that. You know, I just kinda - 

SN: And that’s kind of what I’ve done.

JL: Yeah. I just kinda let that be because it obviously works, so maybe you’re not supposed to remember who that was. Alright, we’ve gotta stop here for the first time. When we come back, we’re gonna play a tune that could be kind of an addendum to ‘Secret Love’, and we’ll talk about that song in a moment when we return with my guest Stevie Nicks on KLOS. Don’t go away. 

JL: We’re back now with Stevie Nicks on 95.5 KLOS Los Angeles. Um, I’ve having a wonderful time just blasting this music and listening to it with you. Before we move on to this next song, I want to tell everybody you’re going to be at Amoeba Records -

SN: I am. 

JL: You looking forward to this?

SN: The last record store!

JL: Man, isn’t that amazing? Did you ever think you’d live long enough to not see record stores?

SN: No. To not drive by Tower and actually see the cover to this record plastered all over it, no. I never thought I would live long enough to see that. And that is exactly why I’m going to Amoeba Records. ‘Cause I did a record signing in London cos there is still a record store there, and I did one in New York a couple of years back and it was terrific and I said, “Well, what about Amoeba?”

JL: Good.

SN: And so that is what we’re doing. And it’s gonna be, I think it’s just going to be a riot. I mean, a good riot. 

JL: Good for you for supporting, you know, somebody who’s hanging in there and trying to do the right thing. And Stevie will be there this Wednesday, 6pm. She’ll be signing copies of the new CD. Amoeba, by the way, is at 6400 Sunset Boulevard in Hollywood, if you don’t know, and it’s a great place and -

SN: Support your last record store. 

JL: Yes. So go out there Wednesday, 6pm, to meet Stevie. That’ll be great and, um - Alright, let me go onto this song which, as I said, is kind of an addendum, in my listening to, um, Secret Love. You wrote this with Mike Campbell of the Heartbreakers.

SN: Right.

JL: Who can play guitar a little.

SN: Yes.

JL: Phew. And, well, first, before we get into the song, what was it like working with him?

SN: Well, you know, Mike always had one or two songs on every record I have made since, you know, since ‘Bella Donna’. 

JL: Right.

SN: Um, so, I, but the difference is that Michael just sends me, you know, like this time he sent me 13 tracks and, um, in March Lori and I sat and listened to all 13 of the tracks. And we loved all of them but, you know, you just can’t do 13 songs so, um, I didn’t hear anything at that moment. And then when, on May 1st when Dave got stuck in the volcano and I went to Hawaii because I had a built-in vacation because he was stuck in the volcano, um, I said, “I’m going to revisit those tracks” and Track No. 7 was this song. And all of a sudden I started thinking about something that had happened to me way a long time ago, somewhere in the nineties, and I just - I had it in my little iPod dock and it was playing away and I was looking out at the ocean and I just started singing this song. “I got to sing, I got to dance, I got to be a part of a great romance,” and I went “Oh my god, get me some paper and pencil,” and in about five minutes I had the song written. We recorded it on a camera because that’s the only recording equipment that we had. That was the only thing we had that we could actually record it before I forgot it. And, uh, that became ‘For What Its Worth’. 

JL: And, as I keep saying, it could be an addendum to ‘Secret Love’ because it’s about a forbidden love affair.

SN: Mm-hmm.

JL: My question is: does the fact that it was a, that it was forbidden, does that generate a certain amount of electricity that would not be there if it was a more public, ah -

SN: Oh, I think absolutely. Um, and you know what, this, what happened in that song really happened, and it was not really, it was not really, it didn’t start out to be a love affair. It was a situation where I was coming out of a really difficult time and I just was very fragile and someone, you know, sometimes there are angels. And this angel just stepped in and took my arm and said, “I’m going to walk you through this.” And did. And it was a, you know, like three months, and it was a time of saving grace for me because it did take away my fears and it did allow me to start me life again and become who I have, who I am today sitting in this chair. And in so many ways when it says, “You saved my life and I won’t forget it”. This happened, you know, fifteen years ago and I have never forgotten it and, all of a sudden, you know, sometimes things that happened to you a long time ago just become really paramount in your mind. And the melody to that song when I was listening to Mike’s track, I thought, ‘That’s it. I’m going to finally write that little story of what happened to me during that couple of months that was so dear and so special.’ And that is what became this song. 

JL: Well, it’s gorgeous and you quoted the one line I wanted to quote because you say it or sing it with such sincerity and the third time you sing it, it’s kind of half speaking.

SN: Right.

JL: And it’s just got right to my heart the first time I heard that, the way you delivered that line.

SN: Cos it was almost tears then. When it says, you know, “we knew it couldn’t last and that was hard.” And it was hard. And it was then, by then, yes, then it had become forbidden. I mean, not forbidden in that kind of awful, forbidden way. But just - It became clear what we had to do and it was hard to let that go, you know, but it was the best thing so, you know, and being grown-ups, you know, we were able to do that. And this song, for me, is my thank you to this person for stepping in and really saving my life.

JL: ‘For What It’s Worth’ on KLOS.

[For What It’s Worth]

JL: You know, it’s a very moving piece. I don’t know why I, uh, that song touches me so much but something about that tune. And I love the little hint of country in it too. 

SN: You know what I think’s really interesting is, um, the ‘for what it’s worth’ part. Because that, that line just came out of nowhere into my head, you know, when it said “I won’t forget it. For -“ Whatever it says. Um, um, “You saved my life / I won’t forget it / For what it’s worth,” and I’m like ‘Oh, well, I can’t use that because that’s from -

JL: Buffalo Springfield.

SN: Right. Their ‘For What It’s Worth’. And then I thought, ‘Well, but they didn’t use the words ‘for what it’s worth’ in their song. It was just the title.’ And so I’m asking everybody that was at the house, “That wasn’t in the song, was it? It was just the title.” Cos I thought, ‘Well, maybe I can’t use that, you know.’ But ‘for what it’s worth’ really just means ‘just so you know’. 

JL: Right.

SN: So I had to use it. Dot dot dot, for what it’s worth, dot dot dot. Just so you know. 

JL: Um, and just so everybody else knows, we’re speaking with Stevie Nicks here and, uh, before you think the entire interview is going to be these deep thoughts about life and passion, which most of it’s going to be - 

SN: It is.

JL: Let me also remind you that, uh, within this ethereal edifice of the goddess floating across the stage beats the heart of a rock’n’roll chick. I’m going to play a song and you’re going to comment on this for me, okay?

SN: Okay.

JL: This is not from the new album. This is the rock’n’roll chick. 

[Rock N’ Roll]

JL: Stevie Nicks kicking ass on KLOS.

SN: Thank you.

JL: Damn. Damn. Who were you angry at that day cos you brought that to that song.

SN: Well, where did you get that?

JL: It’s off of a greatest hits album.

SN: Right. Um, I’m just wondering where that was because we’ve done that for a long time so. But I do want you to know that I got - I did that at the Celebration for Ahmet Ertegun.

JL: Right.
SN: And Jimmy and Robert were there, and I got the heads up from both of them that it was, that it was a great girl version. They liked it and, you know, they kind of gave me the okay. Cos I was terrified to have them -

JL: Wow.

SN: Yeah. They were in the audience and it was kind of, I was pretty terrified but I thought, you know what, I can sing this song. I can. 

JL: Yes, you can.

SN: I’ve been listening to Jimmy Page and Robert Plant since I can remember, so I can do a girl version of this song. I’m not them but I can sure as heck give it my all and do it, and I love singing that song. 

JL: Well, by god, you brought it, lady. I mean, you weren’t holding anything back. And Waddy Wachtel.

SN: Tremendous. 

JL: Damn. That boy can play.

SN: Yes, he can. And he is still playing just, he’s still a magician. 

JL: Well, he certainly is. Alright, you’re listening to 95.5 KLOS. We’ve got Stevie Nicks here and wait ’til you hear - I can’t wait to ask you about ‘Soldier’s Angel’, ‘Annabel Lee’ - which is a fascinating song, and there’s another really kickass tune on here, which I’ve been playing a lot, called ‘Ghosts Are Gone’. That one, we’ve got to talk about that song.

SN: Okay.

JL: Alright. We’ll be back with Stevie right after this.

JL: I’m sitting here with a lady that - I hope I can call you my friend cos I’ve known you for so long; I just haven’t seen ya in a long time - 

SN: Doesn’t seem like very long though, does it?

JL: It’s like we picked up right where we left off. In mid-sentence or something, which is wonderful. It’s wonderful. Um, and I’m going to say it again, I’m so glad to see you doing well. You just look like you’re doing great and you’re healthy and you’re happy and thank god for that. Let’s talk about ‘Wide Sargasso Sea’ for a moment.

SN: Okay. 

JL: This is a kind of a dark song for you.

SN: It is. 

JL: What inspired this story of these two star-crossed lovers?

SN: ‘Wide Sargasso Sea’ was written from a novel that was written sometime in the sixties. It is even, unbeknownst to me when I saw this movie - they made a movie of it; I saw it in the early eighties - and I was very taken with this story. I didn’t realize the first two or three times that I saw this movie that it was a precursor to Jane Eyre, one of my favorite all-time stories from the Brontë sisters. And it is the story - If you know the story of Jane Eyre, um, of Mr Rochester, who has Thornfield Hall in England and, uh, he goes to the Bahamas and he gets married and his marriage doesn’t work out very well and he brings the wife back and she goes insane cos she’s leaving her island. And she’s the crazy lady up at the top of Thornfield Hall who burns it to the ground, which sets him free to marry Jane Eyre. So I didn’t even get it. Mr Rochester, you know, and the fact that he was the second heir in the family and that’s why he didn’t inherit Thornfield Hall and then his brother died in the story of Jane Eyre and he has to rush back to England so he takes Antoinette back with him and she’s an island chick, you know, she’s not going good in England.

So anyway, I was very taken with this story even before I knew that it was like, it was like the Wicked to Wizard of Oz. So anyway, it’s about Antoinette. It’s about this beautiful girl who goes to the Bahamas to marry her because she has a title and she has some money and he is not the heir so he doesn’t have that much money, so he goes to this crazy Bahamaian island and he wigs out there. It’s like, you know, when you go to Hawaii and you’re there for three or four weeks, you start to get island fever. Well, he got super fever and he really fell in love with her and she was very beautiful and she was crazy about him. But then the island started to get to him and then, of course, she started to resent that. So this is a whole crazy story. It’s almost like I wrote this book, you know, cos I can talk about it like I was there. But so, anyway, I just thought, you know, she goes back to her ocean, back to her red dress, back to her white house, um. He goes, “You may have forgotten that but you’ll never forget that kiss,” and I just wrote a long, formal poem about the movie and this was like a long, long time ago, like fifteen years ago that I wrote this poem. And, um, it’s in my book of poetry that I gave to Dave in January 2010. 

I sent him the poetry book with about forty pages of poetry and then I didn’t see him until the second week of February. You know, unbeknownst to me, he actually read it, which was my first reason to become his biggest fan. It’s like who reads forty pages of airy fairy poetry from Stevie Nicks? So, but he did. And he goes, you know, “I like this poem.” And I said, “Really? You do?” And so we, he just starts playing the guitar and that’s how we wrote all these songs. And by the way, we filmed the whole thing. We made a documentary, which you’ll be one of the first people to see it.

JL: Can’t wait.

SN: Um, and it became this crazy, insane song, and we got, you know, we got Lenny Castro to come in and we’re watching the movie and all the native, the crazy native people are dancing and she’s dancing and she’s white but she’s really black, you know. She’s like, she’s like amazing. And he’s like up on the balcony watching this going, “This is not my beautiful world. How did this, how did I get here?” And we got Lenny to come in and like play these drums that I call the drums that go  ‘bah-da-da-da-da’. They’re like a chant drum. And like when the drums stop you should be worried because the cannibals are coming. 

JL: Right.

SN: And so that was our whole thing was to create this sort of wild and crazy native feel of this insane love affair. And that’s what it is, ‘Wide Sargasso Sea’, and the wide Sargasso Sea really exists and it’s a very strange color blue and it’s a sea within a sea and it’s very deep and it’s out there in the Bermuda Triangle somewhere so it’s totally kind of, it’s real. 

JL: Yeah, yeah. Is - Well, let me play this song and then I’ll ask you this question. This is called ‘Wide Sargasso Sea’, new from Stevie Nicks on KLOS.

[Wide Sargasso Sea]

JL: It’s a very cinematic song. I can see why you’d want to make a movie out of that.

SN: It is.

JL: It’s also a little Bo Diddley thing going on in there too.

SN: There’s a, I think that there’s a little Doors thing going on.

JL: Yes.

SN: Don’t you think? There’s something that reminds me of Jim Morrison, especially in the end - And you know, that’s all Dave. I mean, there’s a lot of musicians playing, there’s a lot of guitar players, but it’s Dave. 

JL: You know what it reminds me, The Doors, and it’s well-spotted of you to say that, the production of - There’s, I don’t know if it’s, but you’ve got something mysterious and your voice is cutting through this kind of mysterious music that’s going on and then what you’re singing about, it is kind of Doors-esque, yes.

SN: And there’s some riffs, some guitar riffs that really remind me of the very old and beginning of the LA Woman Doors.

JL: Mm-hmm. That guitar player’s going to be sitting there on Wednesday, by the way. Robbie Krieger. 

SN: Really?

JL: Yeah, he’s coming in Wednesday. 

SN: Well, tell him that I just think that the spirit of he was there. 

JL: I will.

SN: I felt that.

JL: He’ll like that, he’ll like that. You ever met him?

SN: No.

JL: Very nice man. Very quiet guy, seen a few things in his life.

SN: Yeah, I bet.

JL: Robbie. And, you know, one of the most overlooked because he was the first guy to play Flamenco guitar, first guy to bring a slide guitar into rock’n’roll, all that slide stuff on ‘Moonlight Drive’ and all that, yeah. And also wrote ‘Light My Fire’. 

SN: Oh, amazing.

JL: Yeah, he wrote that song. Alright, let’s get back to Stevie Nicks stuff here. We went off on a Doors tangent there.

SN: That’s okay.

JL: Um, before we get onto ‘Annabel Lee’, let me ask you: how are your buddies in Fleetwood Mac doing?

SN: They’re good. Um, Lindsey’s, uh, finished a record that is, I think, amazing. Um, I think it’s the best thing that he’s ever done, and it’s so interesting because last, like, November when he came up to work on ‘Soldier’s Angel’, um, which was the last thing that we really did, um, we played him my record and he played the Dave and Stevie world - and Glen Ballard - his record. So we listened to both records in a row and at the end, um, Lindsey was sitting on one side of me, I was sitting in the middle, and Glen was here, and Dave was walking around with a guitar around his neck like, it’s what he does. And Glen just jumped up and said, “Oh my god! You guys are on fire! You have both made an amazing record in the same year.” And I’m like so, and of course I’m going like, ‘Please God, let me love this record.’ Because I’m sitting here next to Lindsey; he knows me so well. If I don’t love this record, I’m gonna go like, “Well, I…” You know, so, and I swear to god, I think that Lindsey like swallowed some melody pills and some lyrical pills, because all of a sudden, along with his, you know, amazing, bombastic guitar that he plays, are these really beautiful words and beautiful melodies. I’m so very proud of him. So the Fleetwood Mac gang is fine. John’s in Honolulu, Mick’s in Maui, Lindsey’s here getting ready to release his record and working on it, you know. And so, you know, it’s good. I mean, for the first time, I’m not keeping them waiting.

JL: *laughs*

SN: Lindsey’s working. Lindsey’s record hasn’t even come out yet. Mine at least came out in May. So it’s like he’s busy, I’m not waiting on him, he’s not waiting on me, and it’s like, but the boys, the other boys, John and Mick, they know that we’re doing our thing and when we’ve, when we’re done doing our thing then we, you know, then we go back to Fleetwood Mac. And that’s just the way it has always been and will always be.

JL: It’s nice, though, that, uh, you can go out and express yourself and then come back to that particular group. Good. Alright, let’s go on to ‘Annabel Lee’. This is a fascinating adaptation of the poem by Edgar Allan Poe. And what is it about this particular poem that inspired you to do this song?

SN: Well, I wrote this when I was seventeen. Um, I think it must have been required reading, uh, as a junior or a senior in high school. I wrote it on the guitar and, uh, I never really recorded it but it was always in my head. “It was many and many a - ”. It was like a folk song. “It was many and many a year ago / In a kingdom by the sea / A maiden lived whom you may know / By the name of Annabel Lee / And this maiden / She lived with no other thought / Than to love and be loved / By me”. Lived in my head, all that time. 1996 I made a demo of it in Phoenix in that house we were just talking about and it was a really good demo and I was going to put it on - I had started to work on Trouble in Shangri-La and then The Dance happened and Fleetwood Mac came back around and we went into rehearsal so it was, you know, swept under the carpet. I moved onto The Mac, and when I actually got done with The Dance and stuff and came back to working on it, I kinda just didn’t think about it. I just kinda misplaced it. So, um, at some point during this year of recording, I said to Dave, “Dave, you know, I wrote a song when I was seventeen to an Edgar Allan Poe poem called ‘Annabel Lee’”, that Edgar Allan Poe actually wrote about his wife, who was dying of like tuberculosis forever. And, but the great love of his life and there was not a thing you could do about TB in those days. And I said, “So, what do you think about that?” And he’s like, “Well, let’s hear it.” So, once again, we went and found - I sent Lori home to find the demo.

JL: “Hey Lori!”

SN: “Lori! Go back to Phoenix.” And, uh, we got the demo and we played it and they loved it and Glenn loved it. And, uh, we recorded it, and it came out great, and the only thing that we didn’t like was there was a missing, the bass part was different. Cos my bass player, Al, who’s from Phoenix, who made the demo with me in like 1996, he didn’t play bass on it. And that bass part, when it wasn’t there, the whole song changed. So I finally said, you know, we were all like questioning ‘Annabel Lee’’s possibility of not being on the record. And I said, “I think it’s the bass part. I think that it needs Al. It needs our Al to come from Phoenix. Lori, go get Al.” And so we did. She did. We went and got Al and he came. He put the bass part on and all of a sudden it was like ‘Ah! Perfect.’ So I love it. I love it. Because I love the fact that I have written a song with Edgar Allan Poe. 

JL: Amen. Well, let’s hear it. It’s called ‘Annabel Lee’, inspired by the poem from Edgar Allan Poe. This is Stevie Nicks on KLOS.

[Annabel Lee]

JL: I don’t know if it’s the era. It’s not musically but I think it’s the storyline that reminds me of the stories that the troubadours would tell in the old English folk music. 

SN: And really, who writes words like, “…can ever dissever my soul from the soul of the beautiful Annabel Lee.” 

JL: Yeah. Wow. It’s gorgeous, and, uh, I’m gonna have to include that in a set with ‘Battle of Evermore’ from Zeppelin.

SN: Yes. Absolutely.

JL: It’ll work in there and, uh, maybe, what is that one, oh, ‘Matty Groves’ from Fairport Convention.  

SN: Mm-hmm.

JL: Yeah. Alright, well, we’re talking with Stevie Nicks and we’ve got a lot more to talk about. Her brand new album is called ‘In Your Dreams’. She’ll be at Amoeba Music at 6400 Sunset Boulevard in Hollywood, Wednesday at 6pm. She’ll be signing copies of the new CD for the first 200 people to show up so show up early. Don’t get there at 5.55 and expect that you’re gonna like see Stevie. That ain’t gonna happen. I would probably, you know, get a sleeping bag and go there after this interview and just camp out. So it’s Amoeba Music. When we come back, we’re going to talk about two of my favorite songs on this CD. One of them is a kickass rock’n’roll tune called ‘Ghosts Are Gone’ and the other is probably, for my money, the most touching song on the album, which is ‘Soldier’s Angel’.

SN: Right. 

JL: I just - gahhhh. I got something in my eye when I listen to that. I don’t know what’s going on there but a piece of dust or something in my eye. So we will, uh, talk about both of those songs and a lot more with Stevie Nicks right after this.

JL: Alright, we’re back now with Stevie Nicks and this extraordinary solo album, ‘In Your Dreams’, and I’m going to move onto a song I’ve been playing a lot cos I love it called ‘Ghosts are Gone’. This is a real rock’n’roller. I mean, this is a burner, and this, the slide guitar playing on this song, who’s playing the slide on this thing?

SN: The ‘duh-du-da-da, duh-du-da-da’? Dave. 

JL: Dave. Man. Dave stepped up. 

SN: Dave did step up. And I just wanna tell you, this song was recorded like, you know, in the middle of the song that riff isn’t happening cos we didn’t use it all the way through because we wanted it to be spectacular, and if you use anything constantly all the way through, it’s going to start to become a little grating. So we just picked it, picked and chose our places to put it. But that riff was not there. That song was written, well, it was written, you know, somewhere February, March, and, um, at the very end of the recording of this record like at the beginning of November, we went into West Lake Studios for two days to do something that was important that we couldn’t do at my house. And we were playing that song and it stood very well without that riff. It really did. It was fantastic. And at one point I just said to Dave, “Dave, just play something great on it. Just put  your guitar on, have your martini and just rock out, just…”

And he did. He put the guitar on and all of a sudden he goes, “Duh-du-da-da, Duh-du-da-da,” and I’m like, ‘It sounds kind of like Kashmir, it sounds sort of like a weird Led Zeppelin riff but not.’ And this came right off the top of his head and he played it all the way through where it should be. And then at the end we really kicked it up because we thought, ‘Okay, now we’re gonna - ”. At the end of Sargasso Sea and the end of Ghosts are Gone, I said, “These are the two songs that are going to have the serious rock’n’roll ends. Where it just can, if you want to play for five minutes, go ahead. We’re not in a hurry here so go ahead and just play whatever you feel.” And this just came out of the ethos, you know, and I was like, “Wow, that’s…” You know, as a singer sometimes you do that. All of a sudden, you’ll just come up with some amazing vamp at the end of a song and this just came right out of the crazy mind of Dave Stewart.

JL: Let’s hear it.

[Ghosts Are Gone]

JL: To have that song and ‘Annabel Lee’ on the same album but they all work; that’s extraordinary. 

SN: It’s kinda crazy.

JL: It is, and it’s a very different, a very different thing for you to do, but man, it works. 

SN: And could you hear Mick? Cos I hear him. I mean, he’s, I hear him come in, you know, like here comes Mick. 

JL: Right.
SN: And those drum fills and stuff, so Mick. And it’s like it is that edge of Fleetwood Mac. I mean, that’s, you know, who we are is Mick and John, you know, so - And I love that, I love that, cos Mick’s really, I don’t know if he’s ever really played on any of my records before. So it’s like to have that, especially on this song with Mick’s drumming and that riff of Dave’s, I just thought, ‘What an amazing relationship that was’, you know. 

JL: Yeah.

SN: And I got to sit and hear it and watch it happen, and it was amazing.

JL: Well, like I was saying, nobody is phoning this stuff in. I mean, they’re playing, they’re playing this for all it’s worth. Alright, let me just briefly touch on the lyrics to this thing, cos it’s fascinating me.

SN: Tell me what you think it’s about.

JL: God, I know I’m going to get it wrong but -

SN: Cos I’ll tell you the truth.

JL: Yeah, I know you will.

SN: Okay. 

JL: I know you will; you always do. But I’m not asking for names.

SN: Okay.

JL: If you don’t want to give it up.

SN: Okay.

JL: It seems to me the song could be about, uh, perhaps an answer to another song about a ghost written by someone you know. 

SN: Which song?

JL: Miss Ghost. I may be giving too much away here.

SN: Oh, you mean like the ‘ghost through the fog’ Fleetwood Mac song?

JL: No. So obviously this is not, and I don’t want to give up the name.

SN: Okay.

JL: So. I’ll tell you that later. I’ll tell you that later.

SN: Okay. Remember, I’ve been up for 24 hours.

JL: I understand, I understand.

SN: My brain’s a little frazzled.

JL: Alright, well, let’s go onto something that will be easier for you to talk about cos I don’t want to -

SN: Okay. You don’t want me to tell you what it’s about?

JL: Oh yes, I would. 

SN: I mean, in just one little sentence?

JL: Please do.

SN: It’s about a relationship that was like DONE. 

JL: Okay.

SN: Over. Walked away. Never wanted to speak of it again. 

JL: Wow.

SN: Like a ghost through the fog, like a silver shadow. Like a golden rainbow. Gone. The ghost. And even the ghosts were gone. The ghosts went with it. 

JL: So this was finished. We don’t need a postcard at Christmas.

SN: Right. This was don’t call me, don’t talk to me, if you’re walking down the street I will absolutely cross the street to be as far away from you as I can. 

JL: Yow. 

SN: Mm. 

JL: Hell hath no fury like Stevie.

SN: Hell hath no fury like a woman.

JL: Yeah. A woman scorned. Um, okay, anything else - 

SN: There you go. 

JL: Alright. Then I think I had it wrong. I’ll explain to you who I thought it was about later but I think I had it wrong.

SN: Okay.

JL: Let’s talk about, um, ‘Soldier’s Angel’. 

SN: Okay.

JL: This is perhaps the most profound song on here. I understand that you’re speaking of rather a profound experience during your many visits with the veterans at Walter Reed Hospital and Bethesda Medical Center. Describe how you came to do those visits and, most importantly, how that changed you or affected you.

SN: Well, I was on tour with Fleetwood Mac in 2005 and, uh, I got - We were playing DC and we had two days off, and I got an invitation to go to Walter Reed and, um, you know, when you’re on a Fleetwood Mac tour you are really working hard and you’re like, you’re on the road and most people need those - If you have two days, you need, they’ve put the two days in there for a reason cos you need to rest. And I said, “Well, no, I’m going to go. Because I dunno, I just feel that it’s the right thing to do. So I’m going to go.”

And I went, walking into that hospital having no idea in a million years what I was going to find there and, um, I got, I think it was a Sunday and I got there at about two in the afternoon, and I thought that I would be there for two hours. I ended up being there for seven hours. And when I walked into the big entryway at Walter Reed - It’s a big, huge hall, you know, that’s like four or five storeys tall and it’s been there a long time so it’s pretty filled with vibes, you know, but there’s really no-one there. There’s a few family members walking around and so, you know, we’re greeted by the person who runs the hospital and so they start me on my little, my pilgrimage, and I end up seeing probably 25, 30 soldiers, and spending a good, and spending time with each one. Um, not just going in and saying, “Hi, I’m Stevie Nicks, a rock star, and how’re you doing and obviously you’re not doing that good but let’s, you know, okay, well let’s be positive,” and just move onto the next room. So I was, you know, with each child I became more aware of what exactly I was doing and where I was and what these kids had been through. So seven hours later I’m filled with all these stories that they are telling me and, uh, I go to leave - cos I’ve actually seen the last solider that can see me - and I go back down to the big huge entryway that was empty when I came in, and it is buzzing. And there are bells and whistles going off everywhere and I find myself right in the middle of a major medevac. And there are ambulances coming in and down the entire side of this gymnasium sized room are hospital beds and cots and there’s nurses and there’s doctors, and they’re trying to find the car, our car, to get us like out.

Obviously they want to get us out of there; they don’t need to have a bunch of three or four civilians, you know, walking around getting in the way. So they’re trying to get us out, and we can’t find the car and, uh, I’m bordering on hysteria. And finally we get the car and we get in the car and right as we get in the car the ambulances start to pull up, and I am turned in my seat looking back at the flashing lights and I know - because I’ve just spent seven hours with several many soldiers - And we’re driving away and I’m like really hysterical. I’m totally in tears and all I can think of is, ‘What can I do? What can I do? What can I do? What can one little girl do here?’ And I’m thinking, thinking, thinking, you know, I’m thinking, ‘Music, what can - Well, I can’t take them all a big stereo speaker because they won’t fit in the room so the iPod. iPods. iPods. That’s what I’ll do. I’ll get all of my young friends musical lists and I’ll make iPods for them.’ And what I really felt was, I walked in to Walter Reed a pretty much devil-may-care rock star with not a lot of problems, and I walked out of there a soldier’s mother. And in the song where it says, “I am a soldier’s angel / In the eyes of a solider / In the eyes of a soldier / I am a soldier’s mother / In the eyes of a soldier / I am a soldier myself / No one walks away from this battle.”

And I went home, back to the hotel, and I wrote these five verses. And the chorus to this song did not get written until November 2009 on the Fleetwood Mac tour in London. I tried all those years to write a chorus, and I handed this poem out to every soldier, to every soldier’s mom, to every soldier’s girlfriend, to all the families that are there, you know. There’s like fifteen people in every room. And I could never write the chorus and I told them, “This is a song that will belong to you, and it will be written as soon as I can figure out a chorus.” And, uh, I was in London and they had a very, very bad day, where they lost seven soldiers in, uh, they referred to it as a massacre and, um, they were training Iraqi soldiers to, you know, whatever. It was like a big friendship thing. They were all living together and they were training them and teaching them and somehow this all backfired and these seven guys were killed. And, uh, London just went crazy. And I went crazy because of all my time at Walter Reed and Bethesda.

And, um, I went to my journal and wrote a six page rant, of which nobody will ever see, and out of that six pages came the chorus, which says: “I am a soldier’s angel four years later / In a war of words between worlds / About what is wrong and about what is righteous / I am a soldier’s girl.” And, uh, “I am a soldier’s girl” means ‘I support them in whatever they do. I don’t have an opinion. I’m a soldier’s nurse. I am somebody who tries to bring comfort and fun and stories and music to them. I am not here to judge this war or what they do and, uh, I’m just there to hold their hand and make them laugh, hopefully.’ It is my most sacred and my most revered song I have ever written. And I have to say my dear, sweet friend Lindsey saved the day on this one because Dave and I tried to beat the demo for almost nine months and we couldn’t do it, and I finally said to him, “Dave, we have to call Lindsey,” and he said, “Then let’s call Lindsey.” And we did and Lindsey came. A week later I sent him the demo and he studied it and he came and we went into the entryway in that magic golden circle under the stairway and we recorded it live. And he came back the next day and put a little bit of guitar on top of it and put a harmony on the choruses, and he came into the world of Dave and Stevie and realized what a special world it was. And when he walked out I had my most sacred song. And I said to him, “Lindsey, this is as close to Buckingham Nicks as we have been since 1973 and I thank you from the bottom of my heart for making it possible that this song will be able to go out to the soldiers now. Because this is their song, and it’s just you and me doing it and it’s so special.” 

JL: ‘Soldier’s Angel’ from Stevie Nicks on KLOS.

[Soldier’s Angel]

JL: If, um, one is gifted as you have been in your life with that extraordinary voice, that extraordinary brain to write these lyrics, that extraordinary heart, you just did a little payback with that song, of being grateful to the gods and, uh, that is an extraordinary piece of music. And it’s obviously from your heart so.

SN: Thank you.

JL: Um, speaking of walking the walk, you are going to join Jeff Bridges and one of my favorite people, John Fogerty -

SN: At Sturgis.

JL: At Sturgis. You wanna tell us about that?

SN: Well, um, they invited u -, me to come there and, uh, I think they probably invited me to come because of this song.

JL: Mm.

SN: And it’s, uh, it’s for, it’s Bob Woodruff and it’s his foundation cos, you know, he’s someone, he’s the, I mean, the amazing newscaster who came out of that tank at the wrong time, and I sent Bob Woodruff an iPod, a soldier’s iPod. 

JL: Did you?

SN: Yeah. And, um, so they invited me, uh, because it’s for, of course it’s for the whole world of the biker people and also veterans. 

JL: Right.

SN: So, um, I’m going and I’m taking Waddy and Carlos and the girls, and we’re going to do ‘Soldier’s Angel’. We wanted Lindsey but Lindsey is totally busy with his record and couldn’t get out, had a prior commitment that he couldn’t get out of. So, um, and Waddy can fill in for him so it will be terrific, and we’re going to do it onstage for probably somewhere between fifty and eighty thousand people. And it’ll be, it’ll be stunning because it’ll be just me and Waddy and those people, you know. And, uh, I really, I’m really looking forward to it.

JL: We’re running up against the clock here but very quickly -

SN: Who, us? *laughs* 

JL: Really. *laughs* When has that ever happened before? Uh, well, look, I’m here ’til two. I just - 

SN: That’s why we used to go to your house to do these interviews.

JL: Amen, darling, amen. Cos we didn’t have to be anywhere.

SN: Exactly. 

JL: We’re already here, we’re home, we’re here. Um, well, I’m just kind of sensitive to you because I know how long you’ve been -

SN: I know. Jim, I go to bed at four.

JL: God bless you.

SN: It doesn’t matter.

JL: God bless you. There ain’t an ounce of diva in this woman tonight. I just love it. Alright, then let me ask you very quickly before I have to stop you while we’re still on this thing. And thank you; now I don’t have to watch the clock. Um, what can we do, as people who are obviously very fortunate? I never served in the military.

SN: Right.

JL: During the Vietnam war, I was one of the people protesting to get the soldiers home.

SN: Right.

JL: But it is a different day now. It’s a different era. Uh, and we have grown into hopefully more understanding people. What can we do to support these brave men and women? What should we be doing? 

SN: Well, I think mostly, you know, the USO is amazing.

JL: Okay. 

SN: I’m gonna, the royalties from this song are going to go directly to - I have a foundation but it’s so, starting a foundation is so difficult. And I started it and I have it and I wish that there was somebody sitting here that was more understanding of this thing than me cos I’m not a very good businesswoman so I don’t exactly understand how we’re doing this. But the royalties for this song will go - For me, I want it to go to their rehabilitation thing.

JL: Right.

SN: You know, Walter Reed is closing. 

JL: I heard that.

SN: Or it’s closed. Either it closed Wednesday or it’s closing next Wednesday. Anyway, it’s closing and it’s going to be all become - Bethesda and Walter Reed’s all going to become one big giant hopefully fantastic hospital. So I’m kind of, I’m bummed because I was getting ready to go there and I didn’t realize - I’ve known this was gonna happen for years but all of a sudden it’s happening. And I guess it’s good because it is, it’s going to be a more amazing hospital, and there is not a better hospital than these two hospitals. Anywhere. If you were sick, you’d definitely want to be there. Um -

JL: So you feel that they are at least in that way getting the care that they -

SN: Well, the doctors are, you know, the very best in the world. 

JL: Good.

SN: Um, so what I would say, just off the top of my head, is if you have, you know, if you have five or ten dollars, send it to the USO. Because that’s what they do. And when I have more information, I’ll let you have the information, and when I understand my foundation myself better, you’ll know. Because it’s taken a long time to - It’s hard to set up a foundation.

JL: And to do it right.

SN: And to do it right, and you have to be very careful because when I first started to set it up, people just started sending me money. And I’m like, “Don’t just send me money.” That’s like Fleetwood Mac just giving Lindsey and I $200 every week and we just signed our initials and said “Yay. Take the money.” And it’s like, you know, but there is taxes and so it’s like you have to be very careful when you do this or you can totally get in trouble, and you want the money to go where you want it to go. 

JL: Amen.

SN: So -

JL: But the USO is a safe, it’s like the Red Cross or something.

SN: Yes, it is.

JL: Something that is a safe -

SN: It is, and they’re great. 

JL: Alright, we’ve got more with Stevie right after this but let me just say again, thank you for, I just - You know, that piece of music is almost too stunning, and listening to it, it’s really almost hard to react to because it’s, you know, you just did it. Obviously I’m running out of words here. Let me take a break and I’ll be right back. This is KLOS.

JL: 95.5 KLOS. I’m still kind of trying to regroup from ‘Soldier’s Angel’. Uh, we also wanted to - Who’s the lady who came in?

SN: Karen, my assistant. 

JL: Karen. Karen was kind enough to come in and remind us that, uh, the money from the Bob Woodruff Foundation that’s going to be raised at this festival is going to - Some of it at least will be funneled to the Wounded Warriors.

SN: Right. And that’s a really, so that’s a really good place too, if you have a little extra money, to send money to them. 

JL: So the USO and Wounded Warriors and, uh, I know that’s a great organization. I’ve heard about them many times. This is 95.5 KLOS Los Angeles and my guest tonight is Stevie Nicks, if you just tuned in. And we’re talking about her brand new album, and if you’d like to meet Stevie and get an album signed - I’m sorry, I still call them albums; I don’t care - it’s, uh, she’s going to be at Amoeba Records at 6400 Sunset Boulevard in Hollywood, Wednesday 6pm. She’ll be signing copies of the new CD ‘In Your Dreams’. It’s just an extraordinary piece of music. We’re going to talk about a song now called ‘Everybody Loves You’. This one was written, co-written with you and Dave Stewart.

SN: Right.

JL: And that’s not something that normally happens, a co-writing thing, with you, right?

SN: No. Never has happened. Never in my entire life has it happened. I write with Mike Campbell but Mike sends me a CD with, you know, three tracks, five tracks, ten tracks, but Mike doesn’t come with it. 

JL: Right. *laughs*

SN: So I can play it in my living room by myself and if I like a track, great. But if I don’t hear anything in four or five tracks then Mike’s feelings don’t get hurt cos he’s like, “Well, hey, you know, you throw it up against the wall. If it works, it does. If it doesn’t, it doesn’t.” So writing in the same room with somebody, now that is more difficult because you’re taking a chance then of somebody starting to play something that you don’t really love and, but you don’t want to hurt their feelings. So you don’t and then you end up with a song that you hate. 

JL: Ohhh.

SN: So what happened with Dave and I in January, before we actually started the record in February, was he - I called him and said, “You wanna produce this record?” And he said, “Well, I’m totally interested in that,” he says, “and I just happen to have a track that has a chorus on it just like ‘Don’t Come Round Here No More’ did.” Cos that was originally meant for me, that song; he wrote that for me and then it became Tom’s and that’s a whole other story. That’s like Narnia. Um, He says, “So, I’m going to send it to you,” and I’m going, “Great, send it to me.” So he sends me this really beautiful track that’s basically what you hear on the record, um, and it’s just got the chorus: “Everybody loves you / But you’re so alone / No one really knows you / I’m the only one.” And that’s the chorus. So then, it’s not like he just said, “Write a song to an instrumental,” because then I would probably have written a completely different song. But I had to build a song around that chorus, so I’m looking at that very much as a person in a duo.

And Dave’s been in a duo with Annie Lennox and I’ve been in a duo with Lindsey Buckingham, so we really have that in common. Like I was telling you before we started this, that’s a different breed of cat, being in a duo. Um, you think you know your duo partner better than anybody else, and you’re never going to believe that anybody knows them better than you. So when I heard that I went, “Okay, so now I know what to write about.” So I went through all my poetry that I had sent Dave also and I started pulling out these words that were mainly about Lindsey, and, um, I wrote the verses and I wrote the bridge in the middle. And I sent it back to him - we emailed it back to him - and he called and he said, “Well, I love it.” So I said, “Well, fantastic.” And then right after the Grammies he came up and we started. Um, so this song was just like the beginning of everything. 

JL: And did you write all the lyrics on this or did you -

SN: Everything except the “Everybody loves you / But you’re so alone.”

JL: Is there any reference - again, I have a tendency to read too much into things sometimes - Is there any references to other songs in here?
SN: There may well be because I - Without the words in front of me, I can’t really tell ya but, you know, a lot of my poetry - I’ll use one verse. In the last twenty years, I’ll use a verse, and then I’ll use two lines of that again in some other song down the line.

JL: Gotcha.

SN: So it’s very possible that there are things that come in and out, yes.

JL: Right. Okay, and so this was basically inspired by Lindsey and your kind of a conversation to him.

SN: Well, inspired by Dave, who was probably inspired by Annie, so that inspired me to be inspired then by Lindsey, yes.

JL: I see. So the duo. 

SN: So it’s the four of us. 

JL: Alright. ‘Everybody Loves You’. Stevie Nicks. From ‘In Your Dreams’. By the way, how eighties of you.

SN: I know. *laughs*

[Everybody Loves You]

JL: Now that’s a beautiful song, obviously, um, but it starts off like, I don’t know, the eighties meet Devo, and then the next thing I know there’s like this Beatles thing going on there.

SN: It’s totally Beatles.

JL: I mean that’s so Beatles.

SN: I know.

JL: At the end. 

SN: I said to him, “Are we making a Beatles record?” 

JL: Man. 

SN: He said, “Well…” And I said, “If we are, it’s okay. I’m down with that. Let’s make a Beatles record.” 

JL: Yeah, cos that’s -

SN: It was the beginning right. I’m like, “Let’s do it; it’s cool! The Beatles, you know, they’re not making records now so let’s go ahead and make a new one.”

JL: What the hell. Thanks, Paul. Thanks, John. 

SN: Love you for that.

JL: Yeah.

SN: And it was. I mean, I called it the Beatles car-crash song, and he looks at me and goes, “Only you would call that song the Beatles car-crash song.” 

JL: You’re talking about ’A Day In The Life.’

SN: Yes, yeah. 

JL: *laughs*

SN: He knew exactly what I was talking about. You know, the car-crash song.

JL: Yeah, the car-crash song. You know, and there’s also a reference to another - and I don’t know if you referenced this on purpose, but the line ‘bird on a wire’, which is my favorite Leonard Cohen song.

SN: Mm-hmm. 

JL: Ever. And the word enchanted, the way you use it I kind of find, and then ‘can’t find my way home’. So those three references I heard in there. And then, of course, it’s Beatles, you know, all day long, too.

SN: You know what, I didn’t purposely reference those. The bird on a wire, I knew it was from something but I couldn’t remember what it was, but I remembered the bird on a wire, you know. And the - What’s the other thing that you said?

JL: Um, ‘can’t find my way home’. 

SN: ‘Can’t find my way home’. I can’t but that’s -

JL: Blind Faith. 

SN: That’s - Yeah. But that’s Dave’s line. 

JL: Was it? 

SN: “You can’t find your way back home.” Yeah, that’s his line.

JL: And it works whether it’s referencing it or not. 

SN: Right.

JL: It just does.
SN: I think it was an accidental reference, but I think that we both heard that. We just didn’t know where it was from. 

JL: Yeah. Since we did play you doing a cover song earlier, if you were ever to decide to cover a Leonard Cohen song, please cover ‘Bird - 

SN: ‘Suzanne.’ 

JL: Oh, man. Yeah. ‘Suzanne’. Or ‘Bird on a Wire’. But I like both of those. Did you ever do ‘Suzanne’? 

SN: I did. 

JL: Oh, really!? 

SN: “Suzanne takes you down - 

JL: “ - to a place - ”

SN: - by the river / You can hear the boats go by and spend the night forever / And you know - ” I used to play it on my guitar.

JL: Yeah. “She brings you tea and oranges and they come all the way from China.”

SN: Love that. 

JL: You got a recording of that?

SN: Probably. 

JL: Man, I’d love to play that on here sometime.

SN: Probably. I’ll, you know, I’ll send Lori back home -


SN: - to look for that. She’s like, “I don’t know where to look now.” 

JL: Yeah, well, anyway, if you ever come across it, I’d love to hear it.

SN: Okay. 

JL: Yeah, ‘Suzanne’. And also I do love ‘Bird on the Wire’ but, uh, Joe Cocker did a fantastic version of that one. Alright, let’s talk about ‘You May Be The One’. 

SN: This is the first song Dave and I wrote. First of all, first was ‘Everybody Loves You’ but that was cos that was already, the track was basically already recorded and the little chorus thing was recorded. So that was the start, though. And then this is the song, when he came up to my house, that he sat in front of my fireplace on a little red footstool and I sat on my big red couch, and the coffee-table was between us and we had a microphone hanging down in the middle - because we just thought, ‘Just in case, we better have this ProTools thing working’ - Um, so we did. And he pulled out that poem and said, “I like this poem,” and I’m like, “You do?” And he’s like, “Yes, I do. Let’s do this poem.” And I’m like a deer in the headlights because then, now I’m going like, “You mean, we’re actually going to write a song in the same room together? Cos I don’t do that.” And he starts playing, he’s like, “Dun-dun-dun-dun-dun,” and I’m like, my eyes must have been as big as huge brown saucers. And he gives me the, “Well, okay, let’s go…” and I’m like, “Okay”. And I just, because he’s so silly and funny and sweet, it was almost like I would’ve been offending him if I hadn’t have actually started to like recite my poem. So that’s what I did. I started to recite my poem in a sing song-y way, and all of a sudden, I swear to god, Jim, in fifteen minutes this song was written and recorded. 

JL: Wow. Well, let’s hear it. It’s ‘You May Be The One’.

SN: And it’s a serious poem.

JL: Well, it’s also, it’s a sad song about unrequited love.

SN: Well, it is. And it’s very, when you, the first lines are my favorite, when it says: “You may be the one / But you’ll never be the one / You may be my love / But you’ll never be my love.” 

JL: Mm. Okay. Well, listen to this and we’ll talk some more about it.

[You May Be The One]

JL: “You were an angel and I was a starving child / And we were magic.” 

SN: And there it began. 

JL: Are the sad songs somehow easier to write than the happy songs?

SN: Well, yeah, cos there’s not a lot to say about being happy. *laughs* “I’m so happy.” Or like, what, Bobby Whathisname that wrote the happy song and it just haunted him for his whole life. Uh. I can’t remember it. Bobby…

JL: Sherman? 

SN: No. Begins with a F. He wrote a song about happy. 

JL: Yeah. 

SN: And it ruined his life, kind of, because everybody always wanted to hear that song, you know. And nobody’s happy all the time so. What do you write about being happy? Um, you can write about being sorta happy, but if you’re really happy there’s really not a lot to say. 

JL: Yeah, the only thing - Yeah, cos the proof of that is Cream’s ‘I’m So Glad’, which just repeats that phrase over and over - 

SN: All the way through, because they can’t really think of anything else to say about being glad except, “I’m so glad.” So, you know, you can write philosophic songs about, you know, about things that you wish had happened but didn’t but it was probably better that they didn’t happen. And you can write really miserable love songs and you can write great love songs because great love happened, but if you’re just like happy happy happy, you don’t really want to go there. 

JL: No.

SN: You want to be happy in your real life, though, but as a songwriter or a writer of books or novels, happy happy really isn’t going to be a big selling point. 

JL: It’s interesting because, uh, at the opposite end of the spectrum, comedians say that great comedy comes out of tragedy.

SN: Oh, well, comedians are like the greatest, saddest clowns of all. Because comedians are usually really unhappy people.

JL: I should’ve asked you this off the air but would you mind if we took a call or two? I think -

SN: I’d love that.

JL: I’ve so, um, taken up all your time. 

SN: Let’s pick up the phones, Jim.

JL: Oh dear god, listen to her. Alright. 1800-955-KLOS. I can just feel the audience going, “Jim, would you just let us talk to her already.” Uh, so, okay, we’ll take a couple of calls. Um, but first, while you’re calling in - 1800-955-KLOS if you’d like to speak to Stevie - getting back to ‘Everybody Loves You’, there was a question I wanted to ask on that. Why is fame for some people such a lonely business? Don Henley once wrote, “I don’t know why fortune smiles on some and lets the rest go free.” 

SN: Right.

JL: Which is -

SN: Wow. That’s a good line. 

JL: It is a good line. Explain that to me, from someone who is in your position of being very famous. 

SN: Well, okay, the good thing about me being famous is that before I was famous, I was actually - I was almost 28 when I joined Fleetwood Mac. Lindsey was one year younger. Um, we lived together as really as a married couple for five years, and we struggled. And we built a life and we lived a kinda normal life. We did our music all night and I was a waitress all day, but we had bills to pay and we had no money. And so we actually, we knew who we were when we joined Fleetwood Mac, and we knew that we would actually be okay if we just ended up being normal people. Because we had to really fight to stay alive in this business until we actually joined Fleetwood Mac, and so I was always really glad about that, because when people would say to me, “Well, what if this doesn’t work?” I would say, “I’ll just get another job.” And I say that today. “I’ll just get another job. I’ll go on the radio, I’ll, uh, you know, I’ll be an artist, I’ll draw pictures, I’ll do all the things that I’m not doing right now.” Um, so I look at fame as, it wasn’t terrible for me. Um, I never look at it as taking away my freedom. I think that fame for some people really is horrible. I have to say, I mean, being a rock’n’roll star is great.

JL: Good. You know, that’s refreshing. Thank you.

SN: I have, I mean, I fly on a private plane, you know. We’re flying out into Denver, we’re flying into Sturgis, back to Dallas, you know. We have our own plane. Um, I stay in presidential suites, I drive in limousines - cos I don’t drive, really - and I have, you know -

JL: And by the way, the rest of us drivers thank you for that.

SN: I know. And you should be glad I don’t drive but hey, I was a good driver until 1978 when I let my driver’s license go. But I decided -

JL: I’m just saying we’re grateful, that’s all.

SN: We were high and I didn’t want to get in an accident and my whole fortune to go.

JL: Right.

SN: So I just thought maybe driving was not a good idea. 

JL: Good thinking.

SN: But I love my life. I love being famous. I love being able to walk into a restaurant and say, “I’m Stevie Nicks. Can I get a table?” It’s like, you know, why not? So a lot of people that hate being famous, I’m so sorry for them. The violins of the world are really playing for you in your $18 million house.

JL: Good for you, Stevie Nicks. Good for you.

SN: And if I could swear, I would swear right now and say, “Really!? All of you. Get a life.”

JL: Thank you, thank you. Cos I hate it when I hear people whining like that.

SN: Complain, complain, complain.

JL: “My life is so bad because I have to go to the movie premiere.” Really!? 

SN: Or, you know, “I’m just so rich. I don’t have any friends.” 

JL: *laughs* 

SN: It’s like, “Aww, we’re sorry about that.” 

JL: Alright, well, let’s take - I’ll tell you what we’ll do. Let me get rid of the business. What? Now she’s laughing AT me.

SN: No, I’m just laughing about the whole fame monster, as Lady Gaga would say. You know, the fame monster.

JL: What do you think about her? 

SN: I think she’s crazy and I think that she’s very dedicated and determined, and I think she can play really good piano and I think she writes good songs. And, you know, Elton John thinks that she’s great, and I had a conversation with Elton about her and he thinks she’ll still be around in thirty years, so I’m - And you know what? She loves it and she loves being famous. 

JL: But let me ask you this - and I’m not putting her down at all because, trust me on this, if I could, you know, have the talent to walk out on a stage, I would be doing that but I don’t - but to look at the two of you, and you came up with a certain, a much different ethos than Lady Gaga or Britney Spears - 

SN: You know her real name is Stefanie. 

JL: Is it?

SN: It is.

JL: Okay. Um, the point I’m trying to make is: there are people in this world who are artists and other people who would kill their dog to be a celebrity. They would run over their grandmother to be famous.

SN: True.

JL: They would do anything to be rich. I’ve never gotten that from you. From what, you know, when you come out onstage and you have the Stevie Nicks - how do I say this? - it’s not even a persona, it’s who you are. You are the lady in the boots and the way that you twirl around and all of that magical stuff, I never looked at you and went, “Oh, well that was planned out.” 
SN: Right.

JL: You know, that’s just who you are. I’m never going to see you come out of a plastic egg, let’s put it that way.

SN: No.

JL: So what, I mean, does it make you laugh when you see that? Do you think, “Well, that’s just her form of expression.”

SN: Well, you know, I just, you know, she’s a female artist who’s doing really well, and I think that in this day of internet piracy and very difficult for all of us in this business to sell a record, I think any successful female songwriter and performer - and she is a performance artist - I think anybody like her that’s successful only opens the doors for other female artists. And it’s very hard to make it in this world today. Because it’s very hard to sell a record and if you can’t sell any records then the record company can’t make any money so they’re just going to drop you. You know, so the thing is is that I would never have a bad thing to say about any of the young women artists because I want them to just keep on going and do what they do. Um, and you know, we are a little - I’m the grandmother. So we are a little cult and I tend to want to love all of them because of that. Um, I know her, I’ve met her and she’s a big fan of mine, you know. And she said to me, she flat out says, “Well, sometimes when I just don’t know what to do, I say: ‘What would Stevie do?’” And I have to love her for that, you know.

JL: Of course.

SN: It’s like, “God bless you for saying that. I mean, and I’m glad that you say that, you know, cos maybe you’ll think things through because I think things through.” 

JL: There you go. Alright. Uh, well said. Well said. Alright, let me take care of this annoying commercials. Not that we don’t love each and every one of our sponsors - 

SN: Mm, we do.

JL: But why couldn’t we get it commercial-free when Stevie’s here? And then we will come back and I swear to go, we’ll go to the phones, all of which are, of course, lit up, and they want to speak to you. Thank you again for being so generous with your time tonight. I -

SN: You’re so welcome. I’m having a second wind now. 

JL: Are ya? Excellent. Okay. I’m gonna go pee. I’ll be right back.

SN: Okay. Alright. 

JL: Alright, I’m Jim Ladd. This is 95.5 KLOS Los Angeles. If you just tuned in, where the hell have you been? I’ve been talking to Stevie Nicks for two hours and thirty-five minutes, and she ain’t tired and, believe it or not, not bored and hasn’t gotten mad at me. This is a day I’m going to write down in my diary - the day Stevie Nicks did not get pissed off and walk out of the room. I love it.

SN: Oh, I have never walked out of the room!

JL: You never have.

SN: I’m always happy to be here.

JL: You’re so sweet. Just so sweet. Alright, let’s go to the phones. Hi, you’re live with Stevie Nicks. Please don’t embarrass me, and ask a nice question. 

CALLER: Oh, definitely. Well, actually, I had more of a comment. I just wanted to say thank you so much, Stevie, for being such an important part of my life. You actually changed the entire direction of my life. I met my husband through my love of your music and Fleetwood Mac’s, and I have two beautiful sons, so you’re kind of, uh, responsible for that in an interesting sort of way. 

SN: Thank you so much. I’m the godmother. 

CALLER: Yeah, kind of. 

SN: I like that.

CALLER: I was looking online for somebody to talk to about Fleetwood Mac, and it was just a total kismet awesome thing and here we are like thirteen years later. So I just wanted to say thank you.

SN: You’re so very, very welcome.

JL: What a nice phone call. 

SN: Yeah.

JL: What’s your name?

CALLER: My name’s Michelle and my husband’s Adam and our little boys are Anderson and Sasha, and I have a daughter, Frankie. 

JL: Well, this could not have been a nicer call. Thank you.

SN: Thank you, Michelle. And I’m so glad that I was a part of your love affair. That makes me feel good.

CALLER: And I’m loving the new album. I love, love, love it. Thank you so much. It is just, it keeps me going and, like you were saying in one of your interviews about working out to it, that’s a great one to get pumped up to. So thank you. 

SN: You’re so welcome. I lost fifteen pounds to this record.

CALLER: Well, I’m hoping that’ll catch on to me.

SN: It will. Thank you, Michelle. Thank you.

JL: Um, and Michelle, remember Stevie’s going to be at Amoeba Music Wednesday at six if you’d like to go in and meet her. She’ll be there at 6400 Sunset Boulevard, Wednesday at six o’clock. Hi, you’re live over KLOS. What’s your name?

CALLER: My name’s Laughing Bear (?). 

JL: Hi, Laughing Bear. How are you?

CALLER: I’m doing pretty good. 

JL: What’s your question?

CALLER: Well, I actually just have a comment also that I wanted to say. You just got a great laugh. 

JL: You have a great laugh, Stevie.

CALLER: And I saw her in 1982 at the US Festival, San Bernandino. 

SN: Wow.

CALLER: And it was like fantastic. We were all saying wake up to the dead on the third day and also we were saying Stevie and Fleetwood closed the three days. 

SN: Oh, thank you. I remember that too. 

JL: Thanks, Laughing Bear. We appreciate it.

SN: That was one of those big moments in my life. 

CALLER: And I really appreciate the new album and your honesty, you know. It’s just great to have real honest people. And you too, Jim. “Gotta go pee.” I mean, it’s great to hear that on the radio. 

JL: It’s gonna haunt me for the rest of my life. I know it. It’s just gonna haunt me.

CALLER: Oh no, -

SN: Maybe he means it in a good way.

JL: When I go home tonight, you know what the one thing my wife is going to say?

SN: “Jim, what were you thinking?”

JL: Exactly. Not “Nice preparation for the interview.” “Why did you say ‘pee’ in front of Stevie Nicks?”

SN: That’s okay. We say it all the time.

JL: Thank you very much.  Hi, you’re live with Stevie Nicks; what’s your name?

CALLER: This is Mo.

JL: Hi, Mo. Good! Glad you got through. 

CALLER: Thanks. Hi, Stevie. 

SN: Hi, Moe. How are ya?

CALLER: I’m great. It’s such an honor to talk with you first of all. 

SN: Thanks.
CALLER: And I want to thank you for the new record. It’s fantastic. But what I want to know is: what do you do for Stevie? What do you do for YOU? You do so much for others and if you have downtime, what do you like to do?

SN: Well, you know, um, when I have - My idea of a really great day or night is to go into a studio atmosphere with some of my poetry and sit down at the piano and just kind of, kind of play. Not really try to do anything but try to work out something. Because that’s really, you know, for me, that is play and that is rest. I mean, that’s, since I was a little girl, um, you know, I’m not a hiker and I’m not, I don’t go to sports events and I, you know, if I can go to see a play once in a while, I like to do that. I don’t like very many plays but every once in a while. I loved Wicked. Um, of course I would love Wicked. But, you know, I’m not, I love the ballet, but I never have time to do any of that so really, you know, for me, my work is what I love. So it isn’t work for me. So if I’m resting, I’m sitting on my bed with a journal and I’m writing what - I will go home and write all about tonight. I’ll write about Jim, I’ll write about me, I’ll write about the soldiers, and then tomorrow, you know, I might make it into a song. So it’s like my whole life is just all leads up to a song, and I’m really happy with that, you know. It’s, like I’m not searching for anything. I’m very happy to be an artist who’s able to just follow her artist’s calling. If I, if somebody calls me and says, “You need to come to New York tomorrow and sing on this person’s record, and then you need to go to Paris to, you know, pay a tambourine on somebody’s song, and then you need to rush back to Los Angeles for something”, I love that. It’s exciting. My life is really special and I wouldn’t trade it for anything so I don’t really, you know, I don’t really know what to tell ya except that I just kind of do what I do. 

JL: That’s nice that, you know, I’ve often told people that once I got into radio, I never worked a day in my life.
SN: Exactly. 

JL: Cos I, what else would I want to be doing?

SN: Exactly.

JL: Alright, you’re live with Stevie Nicks. What’s your name?

CALLER: Hi, my name’s Tea. 

JL: Hi Tea. 

CALLER: Hi, Stevie.

SN: Hi Tea.

JL: What’s your question, hun?

CALLER: Um, I would first like to thank you for all that you’ve been doing for wounded soldiers. Um, the Desert Angel song is still one of my favorites -

SN: Oh, thank you.

CALLER: - but Soldier’s Angel is by far an awesome song, and your foundation and how it supports the wounded soldiers and the message that you’re bringing, being an American citizen and doing that out of the goodness of your heart, as well as having a celebrity status, how much that helps to get the word out for more attention for those who have lack of it attention. 

SN: Right. What a great way to put it.

CALLER: Thank you. And our daughter is, um -

JL: I’m so sorry but we’ve got so many people on the phone. You’ve gotta ask a question for me.

CALLER: Our daughter is preparing to enlist in the airforce and I had a question of any words of advice you would give young men and women now after what you’ve experienced and are still experiencing. Any words of advice you would give to those looking to enlist to serve their country right now?

SN: I think that it’s like it says in my song, “I am a soldier’s girl.” That means that I support whatever they want to do. If I had a daughter or a son that wanted to enlist in the armed forces after what I have seen, I would probably say, “Are you sure that’s what you want to do?” Because it’s dangerous. But if that’s what they really want to do, I guess I’d have to go along with it because you really, you can’t stop somebody that’s eighteen from - If they feel like they want to be in the military then that’s what they’re going to do. So I think you just have to be supportive. You have to be positive, right? You can’t, you know, you can’t throw yourself in the street in front of them and say, “You can’t go.” So you just have to be really supportive and listen to them and, uh, hope they make the right decision. 

JL: Good luck to you and your children.

SN: Yeah, really. Good luck.

JL: And thank you for that. Uh, hi, you’re live with Stevie Nicks. Gotta question?

CALLER: Yes, I do.

JL: Now, I’m going to ask you guys from now on - and it’s wonderful that you’re giving Stevie love but there’s so many people calling - we need you to get right to your question, please. Hello?

CALLER: Hello? 

JL: Hi. What is your question for Stevie?

CALLER: Uh, my question is is that she inspires many people, including myself, and what inspires her to do what she does?

SN: Everything inspires me. Um, you know, coming through the tunnel and seeing the ocean inspires me after a long day in the city. Um, getting up and looking out my window and seeing my beautiful rose garden inspires me. Meeting somebody new that has something really beautiful to say inspires me. I’m pretty much inspired by everything. I’m an observer. I just observe the world and most of it inspires me. Sometimes it’s kind of sad, sometimes it’s happy, um, but you have to be really open to be inspired and I try to just keep myself really open to the world, so that when that inspiration comes I catch it. 

JL: Now that’s an interesting thing that you said that you have to remain open to the world. An artist needs to have some little part of them that is still kind of childlike.

SN: Very innocent.

JL: Yes. But that’s kind of a rough way to go through the real world, isn’t it?

SN: Well, it is. However, it’s like, you know, like you said about your wife, you know, that she’s one of the last innocents. Um, the innocent, the people that retain a little bit of their childlike innocence are the, I think, are the people that end up being the happiest because you can still see through the eyes of a child. That’s why I love Dave so much ‘cos he sees through the eyes of a child. And he dreams children’s dreams and he makes them come true, and that rubbed off on even me. Um, so I just think that, you know, you stay open and I don’t know how to explain it anymore than that, then to just say be open and things will come to you that you would never think would come to you. 

JL: Cos you gotta be open for the magic.

SN: Yeah, you do. 

JL: Alright. 

SN: It’s a dream-catcher. 

JL: 95.5 KLOS. Never have a battle of metaphors with Stevie Nicks; she’s going to win every time. 

SN: *laughs*

[Sisters of the Moon]

JL: One of my favorite Stevie Nicks songs. She did that, of course, with Fleetwood Mac. From the ‘Tusk’ album and it’s called ‘Sisters of the Moon’. Very haunting piece of music. You know another one on there that you don’t seem to fit as much as I always thought was ‘Storms’. “I have always been a storm.” And you seem happier than that song now days.

SN: But you know what, we did that song in the last Fleetwood Mac tour.

JL: Oh, really?

SN: Eighty-three shows. Eighty-three times I sang that song and it was magical. 

JL: Well, it’s written for every woman I’ve ever met.

SN: It is. And it was, and the audiences just were stunned when we went into that. Cos that’s not a song that we usually - Every once in a while we pull out something: -’Beautiful Child’, you know, that -  that we don’t normally do, and, um, I love doing it. I loved, I loved it. It was an experience every night.

JL: It’s a beautiful song. Neil Young wrote ‘Like A Hurricane’; you wrote ‘Storms’. The same exact thing but it’s from totally different points of view.

SN: Yeah. 

JL: Alright, let’s go to Line 13. Is this Lori?

CALLER: Hi, this is Mel ???.

JL: Oh, it’s Mel ???; I was given the wrong information. Hi, Mel, you gotta question real quick?

CALLER: Yeah, hey, Stevie, first of all I’ve been a fan since I was twelve so, um, - and I’m 20 now so - I love you. 

SN: Thank you.

CALLER: I actually wanted to ask you, um, what are you listening to nowadays? I mean, the music industry has certainly changed since you’ve been, you know, and hey, what are you liking? Who would you tour with? Who would you work with? You know.

JL: I think I got it. Thanks, Mel. It’s ‘What are the new artists you’re listening to?’

SN: Well, I, you know, um, I like a lot of new artists. And I like a lot of artists that aren’t like totally brand new. Um, I love Vanessa Carlton, who’s coming out with a new record next month or even sooner than that. She’s my favorite little singer-songwriter girl. And I like Michelle Branch and I like Katy Perry and I like Mary J. Blige and I like a lot of R’n’B stuff that nobody would ever think I do, but I do. Um, I’m, you know, when I’m making a record, I try not to listen to anybody because I don’t really want to be affected by anyone and I certainly don’t wanna write something that’s, that I’m listening to, you know, for fun. Because it starts to creep in. And I don’t even listen to my old records because I don’t want to re-write ‘Edge of Seventeen’ accidentally. So I’m not listening to a lot of new music right now. Um, I’m kind of in my own record world right now, and that’s kind of, I haven’t, like I was telling Jim before I haven’t done, this is the first record in ten years so, um, I’m really kind of reveling in that magical musical moment that I’m in right now. So I’m really not, you know, I have all my old collection tapes that started in 1978 and go up through like ten years ago that I listen to when we’re on the road and to get ready to go onstage. But, um, my mind always goes blank when somebody asks me that but just because I’m saying that doesn’t mean that I don’t listen to lots of new artists cos I do. I just can’t think of them right now.

JL: But there are times when, you know, it’s good to have the input and times when you don’t need the information.

SN: You don’t want to be so influenced that you end up ripping off a song accidentally. 

JL: Right. Amen. Hi, you’re live with Stevie Nicks. Who’s this?

CALLER: This is truly an honor, thank you. Um, fast background, then I want to ask you a quick question. Um, I was flying back from the East Coast, we were high above the clouds, it was absolutely glorious, and it finally hit me that I’m positive that if the Garden of Eden’d had a house-band, that you would hands down have been lead female vocals. And, um -

SN: Thank you.

CALLER: Not to put you on the spot. I’ve been trying to find a lead male vocals but can’t do it. 

JL: Got to get to the question. We have got to get to the question.

CALLER: I’ve written the most incredible song lyrics. They’re called ???. Is there any way I can get it to you or through the station to you.

SN: Um, you have to send it to management.

CALLER: Very good.

SN: That’s all I can tell you.

JL: Thank you. Thanks for the call. KLOS. You’re live over KLOS. Who’s this?

CALLER: Oh my god, this is Lori.

JL: There you are.

LORI: You want a question and I don’t have a question. I’m calling to say hi to Jim and Stevie -

SN: Lori Nicks? Lori, we’ve been talking about you the whole time.

LORI: I heard you, I heard you. Okay, I know, Jim, you want questions and I don’t have one because -

SN: She just left this morning. 

JL: Really?

SN: Yeah. She drove back to Phoenix today.

JL: And what did you send her to look for?

LORI: Oh my god. Well, no, right now I’m just packing to get ready for the tour but I watched, I listened to the show last night; it was wonderful. And you guys are great and you know I love Stevie beyond words, and it’s been a great show tonight. So I’ll let you guys go. I’m now gonna go to bed.

JL: Aww, that’s so sweet. Thank you for calling! Anything you want to say?

SN: Thanks, Loretta. I’m glad you got home safe. I’ll see you -

LORI: I’m home safe and -

SN: I’ll see you Friday. In Denver.

LORI: You know what? I learned some things tonight listening to your show.

SN: Well, good.

LORI: That I didn’t know before. We’ll have to talk about it later. 

SN: Okay. And Lori’s going to Sturgis so we’re like -

JL: Excellent.

SN: You know, yeah. 

LORI: We’re on our way. Jim, it’s good to hear from you and, uh, I’ll see you guys soon. 

JL: My pleasure. Thank you for calling in, honey.

SN: Bye, sweetheart.

LORI: Night.

JL: Bye. Well, that was nice. Got to hear from her.

SN: You just left this morning. 

JL: Yeah, well, she’s looking for another tape. 

SN: She’s - Yeah. Well, she, you know, she came at the beginning of last year, she came to the house, she thought it was going to be a week. We didn’t know what was happening, you know. She ended up staying for a year.

JL: Wow. 

SN: So now she pretty much lives at my house because we’re always working, you know, so she went home to her house to pack up to go to start in Denver on the 9th. 

JL: Are you a person that always feel comfortable in your own skin? You know, there are people that they just seem like they were born to be who they are, and other people that are just a little, I don’t know.

SN: No, I do. You know, I’ve been me since I was four. I’ve been, um, I’ve, you know, I was a little entertainer when I was little and my parents saw it coming. Way before, you know. And in the fourth grade my granddad bought me a bunch of country records and bought them over, and he was a country singer of sorts, and we played them all and we sang ‘em all and, you know, by the sixth grade, I was singing R’n’B Top 40. And my parents were going, “Who are you? Where’d you come from?” Um, you know, she’s singing like, you know, The Ronettes and it was - So I was always going to do this, you know. 

JL: Right.

SN: Yeah, I’m totally comfortable in my skin, because I like being me.

JL: Um, I want to play to a song. It’s a solo song but it’s not from this album, if you don’t mind.
SN: Okay.

JL: Um, because as the lonesome LA cowboy, I have played this song many a time, uh, and wept a tear at you singing this song. And I’m just going to play it.

SN: Okay.

JL: Without any further comment.

SN: I’m happy.

JL: This is KLOS.

[The Highwayman]

JL: Right now at one o’clock in the morning, this is my favorite time to be on the air, and I’m on with one of my favorite artists. Life is good. This is KLOS. I’m Jim Ladd and I’m sitting here talking to Stevie Nicks. And you have no idea how many times I’ve done a set of songs that included, erm, ‘Desperado’ would be in there from The Eagles. And ‘The Highwaymen’ from the band The Highwaymen. Followed by this song. And ‘Midnight Rider’, you know.

SN: Right.

JL: And god, I just, there’s, I don’t even know if I can explain it. You either just hear it or you don’t, you know. And obviously you hear it cos you wrote it but, um -

SN: And Don is such a beautiful singer.

JL: Phew.

SN: It’s like Waddy says: “A bad night for Don Henley is a great night for the rest of us.” 

JL: Amen, brother, amen. That, uh, you know, and not to go off on this guy but he, not only his voice but his turn of a phrase -

SN: It’s amazing.

JL: Yeah. He’s one of a kind. You can always tell a Don Henley turn of a phrase. Um, alright, let’s talk about - We didn’t get to, uh, and by the way, I guess you’re just going to be here til the end, right?

SN: I guess I am. 

JL: God bless you.

SN: I’ve got nowhere else to go. 

JL: You know I went out to get some coffee and the rest of the folks you brought with you, they’re crashed on the couch. You and me are the -

SN: Only ones up.

JL: That’s right. Me and Stevie, we’re ready to rock here. Alright, let’s talk about ‘Moonlight: A Vampire’s Dream’. Tell us about that song.

SN: Okay. This is really an important song because this is the reason I did this album. Um, I told you a little about when I came off the road with Fleetwood Mac in 2005, I was gonna do what I always do; I was going to do a record. And i really was told by the industry people and my management that, you know, that was when internet piracy really hit the wall, and everybody was, it was like doom and the Grim Reaper. Nobody knew what to do and, uh, it was like the publishing royalties, they were watching them drop, you know, and it’s like everybody was freaked out. So I really got, “Don’t do an album now. It’s not a good idea. It probably won’t sell any records and it’ll hurt your feelings. It’ll be emotional breakdown for you and so you should, let’s just spend a little while just touring - cos you can make money, you’re a big artist, you can play big venues, and you’ve got hours of repertoire - so let’s do that for awhile and hope that they figure out how to fix this problem.

Um, and I really should’ve just said, “You know what, I don’t really care if it sells any records. If it comes down to that, I really make these records for myself and I hope that everybody else likes them, but really,” it’s like I said to that girl, “it’s what I do and so I’m just going to do it anyway.” Well, I didn’t. I kind of, I just said, “Okay.” And so for the next, you know, four years that’s what I did. I toured a lot and I did Crystal Visions, which was great, and I filmed my show on PBS and that was terrific. It was, you know, it was projects, you know, and they worked out and they did well. Anyway, so I’m going along year after year and I go on the Fleetwood Mac tour in, uh, 2009 and we do 83 shows, and we’re ending up in Australia. We get to Melbourne and, uh, I get there the day before the band gets there because I always go early to, you know, get with the new time. And I’m at the Crown Plaza in Melbourne and there’s, I’m trying to stay up because that’s what you do when you go to Australia.

So I go down to see a movie to keep me awake and I see the second movie in the Twilight Saga and, um, there’s almost nobody there and it’s late and I’m watching this movie and I’m very taken by what happens to the two characters in this story. Because it reminds me of something that happened to me. And so I’m a little bit teary and, uh, I’m philosophic and I’m being really affected. So I go to my room and I, um, I’m really thinking about this, you know, and the next day Fleetwood Mac comes in and we rent the Michael Jackson movie so that we’re trying to keep them up. So we watch the Michael Jackson movie, which was amazing, and then Fleetwood Mac goes off to bed and I tell my assistant and one of the promoters for the tour, I said, “I’m going back to see that movie.” And it’s midnight and I said, “And I’d like you to come with me but I’m going without ya if you don’t wanna go so. I’m going.” So I went back and I watched it a second time, and I went up to my room after it was over and I wrote an essay: on fairytales, and clandestine lovers, and beauty and the beast, and who is the beauty and who the beast?, and it was five pages and, uh, it was kind of like something you’d write when you’re in college, you know. It was kind of covering all the bases of basic fairytales. I then started thinking of this song that I’d written in 197-, probably 1977, that Lori and Sharon and I have sung - and can sing to this day the whole thing at the piano - but we just never recorded it. But it went out on a bunch of bootleg things. So my fans have heard it.

Um, and it was called ‘Lady From The Mountains’ and it’s like, “Some call her strange lady from the mountain / Others say she’s not really real / Like a candle burns bright and wants to burn faster / Well, maybe then at least she really feels.” This was about me. But I’m watching this movie about this girl named Bella and she’s up in the mountains of Oregon or Washington or somewhere, and it’s the sea and it’s the crashing ocean and it’s this crazy story. And I’m thinking, ‘Gosh, this could be about her as well as it’s about me’, and then the next verse to this song is, uh, “He loves her but he loves his life alone as well / But does he know the road or the reasons why / If he leaves her / He’ll be losing the chance to stay alive / The candle burns bright then the candle dies.” I’m going, ‘This was written about Lindsey. However this could so totally have been written about Edward, the vampire.’ And so I’m struck by this and I write this essay, and there’s a part of it that I’m writing about Bella and it says “She’s lonely, she’s lost, she’s disconnected, she finds no comfort in her surroundings. Beautiful, insecure, she’s like misdirected, she goes form situation to situation like a ghost.” And all of a sudden these three verses start to go together. And I’m thinking, ‘This is like making this ancient tale right here in front of me’.

The next day we play Melbourne and then we go on to Brisbane, and there’s a piano in the hotel in my room. I go to the piano and I sit down and I start thinking about Lindsey and I in so many ways, and I start thinking about how Bella is in love with a vampire, who is a noble and great man just like the Beast in ‘Beauty & the Beast’ was a noble and great beast. But he was still a monster and Edward is still a monster. And, but that doesn’t make the love any less deep even though it’s impossible. So I start to write this chorus and it says, “Strange, she runs with the ones she can’t keep up with.” She runs with the vampires. Um, and I run with the rockstars. “Strange, he slows down, he’s so desperate to stop her.” Because he doesn’t want her to hurt. He doesn’t want her to be hurt. Um, “Strange, they both run from the one who hunts them.” Who is the crazy vampire that’s after both of them. And, uh, they both drop to the forest floor, frozen. And I sit at the piano and I play this song all the way through and I ask Karen, “Get me the camera. And put it on video, because we need to record this.” So we recorded it and when it was done I got up from the piano and I said to my sweet assistant, who has been in my life for like twenty-two years, “I’m ready to make a record now, Karen.” 

JL: Wow.

SN: “I’m ready. I don’t care what anybody says. They can all go, like, jump off a lake. I am ready to make a record.” 

JL: And this is why. 

[Moonlight: A Vampire’s Dream]

JL: Well, thank god for that song if that’s what brought you back. That’s great. 

SN: Thank you.

JL: Um, you told the story very well too, that you looked up at one moment and said, “I’m ready.” And you just knew that. 

SN: I did. 

JL: I guess that’s a lesson in following what your instincts are, yes?

SN: Yeah.

JL: And don’t let people tell you you can’t do it.

SN: Exactly. Because people, people will get in your way.

JL: Why do you think that is? I mean, maybe it’s even people with good intentions but rather than encouraging one, it seems it’s easier for people to go, “Oh, she can’t do that. You can’t. Don’t do that. I know better.”

SN: I think in a way they fear for you, you know. I think they fear that you’ll be hurt and that then you won’t want to do it anymore, you know. I don’t know. I don’t really know why. I know that, you know, people are terrified about the business.

JL: Yeah.

SN: And, uh, it’s very hard. I mean, I don’t know - If Lindsey and I moved here today and we were 22 and tried to get a record deal, I don’t know, you know. People go like, “Well, what kind of, who are you guys? And what is music? Are you like Texas rockabilly or are you like folk or are you, what are you? Who are you?”, you know. Cos that happened then also but it would really happen now. I mean, would we make it now? We would try and we would be just as, you know, forceful as we were then, but would we actually be able to crawl to the top now? I don’t know.

JL: Plus they’d take one look at you and they’d want to put you in some sort of ridiculous costume and have you do dance steps.

SN: Well, yeah. And of course, you know, I am not to be choreographed. That’s why I’m a lead singer, because I can not do steps, you know. I’m a free dancer, you know. Um, so no, that would not work for me at all. And of course that would just infuriate Mr. Buckingham so that would never work. But it would be, we would have to have really figured out a way, you know, would we have gone on American Idol? Would we have gone on, would we have moved to England and gone on The X Factor? Would we have done whatever it took?

JL: Let me ask about that.

SN: I don’t know.

JL: What do you think about that American Idol thing? What do you think about it?

SN: Well, I think that it’s the - People, a lot of people feel that it’s the only way to be seen. Because, you know, record deals are few and far between and even if you have a hit single or two, if you don’t follow it up, they’re going to drop you.

JL: Yeah. That is the reality.

SN: So you just, talk about living in fear. At least, you know, we have our money invested. We’re okay. But, you know, these kids that are like, you know, traveling around in a van trying to, you know, sell their record on the internet, it’s like, it’s tough. 

JL: And you know what would’ve happened if Bob Dylan were to try to come out today? Do you think he’d get a record deal?

SN: I don’t think so. I think that they’d totally miss his poetry. You know, they’d be going like, “What?” 

JL: What a waste that would be. I mean, just think of the waste.

SN: And let me tell you something, there is Bob Dylans out there. Are. There are Bob Dylans out there. And there are Fleetwood Macs and there are Led Zeppelins and there are The Who and there are Jim Morrison and The Doors. They’re there. I have total belief that all those really talented kids are out there but whether or not there’ll ever see the light of day is another question. And that is really scary. 

JL: Do you think that we’ll ever see another phenomenon like that happened in the sixties when The Beatles, The Stones, The Doors, The Byrds, you know. 

SN: Janis.

JL: Go down - Janis.

SN: Jimi Hendrix. 

JL: I mean, that really, to me, was almost a sign that there is a god, because that can’t just be molecules bumping into each other that created John Lennon and -

SN: It was one of those harmonic convergences.

JL: Yeah.

SN: You know, I moved right into it. My family was transferred up there at the end of my junior year in high school, so I started as a new senior in Palo Alto, which is next to Stanford, right. And that’s when, that year is when I met Lindsey. But that was 1966. That was, so we were going into the most amazing time of music in the whole world in San Francisco. And I was right in the middle of it. I did open for, Lindsey and I opened for Jimi Hendrix for 75,000 people in San Jose. We opened for Janis Joplin in front of 25,000 people at Frost -

JL: Whoa, whoa, whoa, whoa. 

SN: Amphitheater.

JL: Wha -

SN: Yes, we did! 

JL: What? Whoa, whoa. I’ve known you for how long? I never knew that. 

SN: Oh, yeah.

JL: You opened for Hendrix? 

SN: We sure did. 

JL: And Janis?

SN: And he dedicated a song to me, too. Yes, he did. 

JL: How did I never know this -

SN: Swear to god.

JL: - story?

SN: Well, I don’t know. You probably never asked me. That was when we were in Fritz and we - You know, we were like the first band and then there would be, you know, we played The Fillmore. We opened for Chicago when ‘Color My World’, right?

JL: Yeah.

SN: So we were like the eighth band down. You can get a San Francisco poster and you’ll see us. It’ll say Fritz and then two more bands and then it’ll say, it was like some group called like Family or something like that. And then there was the Paul Butterfield -

JL: Blues Band.

SN: Right. And then somebody else and then Chicago. We opened for Buffalo Springfield, we opened for Santana the week after Woodstock.

JL: See, for some reason this blows my mind, because first off, what, were you eight?!

SN: No. I was, you know, well, I was young. I was - I joined the band in 1968. I was in the end of my second year of junior college when Lindsey called me and asked me if I wanted to join their band. They were already playing, they were pretty, you know, sort of established, and then I came into the band. And it was just like it is in Fleetwood Mac. It was Lindsey and me, the frontmen, and we, that’s why it was so easy for us to walk into Fleetwood Mac was because we played for three years. We practiced from 5.30 to 11.30 every night, four days a week, and then we played on Friday and Saturday. So we opened for every single big San Francisco band that there was. 

JL: You know, and I’m really kind of embarrassed about this but I never, uh, kind of knew that before. Of all the times we’ve, because for some reason I always picture you coming a bit later than that. You know, a bit - That’s very, that’s fascinating to me.

SN: But I was, you know, how old was I? 1968, I was twenty. 

JL: So you were right at the perfect age to play The Fillmore and open for -

SN: Exactly. Yeah. 

JL: And how was it opening for Hendrix? For god’s sake, Stevie Nicks.

SN: Fantastic. It was a big outdoor show in San Jose.

JL: Yeah.

SN: And it was like, it was like 70,000 people. It was huge! 

JL: And you met Janis?

SN: I didn’t, yes, I did, well, I didn’t exactly meet her. But I, you know, the perk of being the first band was that you get to sit on the side of the stage and watch THE band.

JL: Sure.

SN: So I was onstage with Janis Joplin, off like behind an amp, and the band that went on before her was a band, um, called, with a girl named Lydia Pense. Um, it was a big band, it was a big San Francisco band and you could look it up and I can’t think of the name of them but she was a little soul singer. And she was tiny and she was really good and she was on this particular show. So anyway, they were playing a little bit too long and Janis - I’d never seen Janis Joplin before. I’d heard her - ‘Take Another Little Piece of My Heart’, I knew that, you know - but, so on comes this crazy woman, screaming at this band: “Get the hell off of my stage!” in much worse words than that.

JL: Right.

SN: And I’m like, “Oh my god, who’s that?”, you know. And it’s her but she’s not all duded up yet, you know. So anyway then she - and boy, they wrapped it right now - fifteen minutes later out comes Janis in her feathers and her little silky bellbottoms and her like kinda high-heel shoes; it was wild. I sat there and I watched this little woman just take that audience in her little hand and just totally like be in her living room with them. And that’s what I learned from Janis Joplin. I didn’t want to be Janis Joplin - cos who could be her? - but I wanted to do what she did, which was to really reach out and be intimate with these people. So that’s what I got from Janis.

JL: Wow.

SN: From Jimi I got - Cos Janis had total attitude. She was totally a little arrogant and great, and she could back it up so it was okay. So I got that attitude thing from her. But then from Jimi Hendrix I got a total gentle soul. And sweet - to 75,0000 people - and loving and nice. And he did dedicate a song to me. He said, “I’m dedicating a song to that girl.” And I’m like, “Oh my godddd.” Um, and I learned from him that you needed to be humble. Always. So you could have a little bit of an attitude and you could be strong and powerful but you had to also be loving and have humility. And so those are the two real serious influences for what, for my stage performance. 

JL: God, I just, you know, I’m so glad you stuck around for that story. This is 95.5 KLOS. You’re listening to Stevie Nicks on an amazing night. 

[After The Glitter Fades]

JL: I’m sitting here with Stevie Nicks as she continues to remind me in her gentle way, without even trying, what’s important in this life and why I am so blessed to do what I do, um, because I get to know people like her and listen to this extraordinary music.

SN: And because the feeling remains even after the glitter fades.

JL: That’s exactly right. That’s exactly right. You know, you give a lot of people faith when you write a song like that, you know. It’s a blessing to people, you know, because sometimes people need to hear that. I know you need to sing it, you need to write it, you need to express it to your own self. And I’m sure you know that it does land in our hearts, you know. It’s not just, ‘Oh, that’s a great pop tune.’ I mean, sometimes the stuff actually gets through to us. Alright, um, we’ll be back. I’ll try to think of something pithy to say here now she’s taken the wind out of my sails and we’ll be back with more Stevie Nicks right after this.

JL: We’re back now with Stevie Nicks and why she secretly, actually wants to be in Iron Maiden. Uh, this is 95.5 KLOS Los Angeles and, uh, we’re talking about this wonderful new album, ‘In Your Dreams’ and she’s going to be at Amoeba Music, 6400 Sunset Boulevard in Hollywood, Wednesday - which is now officially tomorrow - 

SN: Right.

JL: *laughs* 

SN: I’ll just stay here and go straight to Amoeba.

JL: She’s looking at me going, “Hey, I’m fine, pal. If you can’t keep up, it’s all right.” Let’s talk about ‘Cheaper Than Free’. 

SN: ‘Cheaper Than Free’.

JL: This is the very last song on the album.

SN: Yes, it is and, um, I look at Dave sometimes and go, you know, “Dave, this song is so spectacular.” We may never write another song this cool again. Um, this song was - We were in Village for that two weeks that we went in to track drums and, uh, Reese Witherspoon came down to visit us. And she has a condo in Nashville and Dave was going to Nashville for a week to cut an album and he did it. Um, and, you know, we’re in our eighth month and she goes, “Well, you can stay at my condo cos you can, it’s empty.” And I said, “Well, good, that’s cheap,” - and cos we were trying to be cheap here - and she said, “Well, what’s cheaper than free?” And Dave Stewart and Stevie Nicks went, “Oh my god. This sounds like a country song, right.” And that’s what Dave and  do. We like little phrases, we write ‘em down really fast so anyway, off he goes to Nashville and he calls me three days later and says, “Um, so dd you write ‘Cheaper Than Free’ yet?” And I said, “Well, no, Dave. I didn’t. But, uh, I’ve written - Actually, I did write four lines. And it was going to be a goofball, corny song but I don’t know, it doesn’t look like it’s going to be as corny as I thought.

So it starts out, ‘What’s cheaper than free? You and me. What’s better than alone? Going home.’ What do you think about that, Dave?” And he’s like, “I love that.” And I’m like, “Alright, give me a half hour,” and I went, this is how fast we work. I said, “Give me a half hour,” and I ran upstairs to my room, got my journal out with those little lines and I wrote the rest of the poem and he said, “E-mail it to me.” I e-mailed it to him in Nashville. And I didn’t e-mail it; I don’t even have a computer. Karen e-mailed it to Dave and then Dave e-mailed it back to Karen finished with a vocal on it, except for me. Exactly as you hear it. Except I’m not on it. He came three days later and then we put my voice on it and it was done. I think that it reminds me a little bit of a John Lennon song. Um, it reminds, it reminds me of a kind of a pure, country love song. Um, but it’s like, when we first finished it, Dave like put it - he’s like a video crazy person - to a video of him and his two little girls in France going to this amazing place where they like just took a picnic, and it was just him and the girls. And they’re seven and ten. So Kaya and India and Dave. And he had the limousine driver filming them. So they were just setting their little picnic up, you know, and then they kind of crawled into his arms and it’s like this beautiful little thing and he put it to ‘Cheaper Than Free’.

So I’m going like, Here’s this song, this song could mean this love between this man and his two little girls that adore him, or between a man and a woman, or between me and my tiny Chinese-crested Yorkie Sulamith. Or, you know, it’s like this is a love song that goes far and wide. It can be between you and me. It can be all of us together, and that’s why I love it and that’s why I ended this record with it. And I do think it’s one of the most special things that I’ve ever done, and it just makes me love Dave Stewart.

JL: Well let’s hear it now. ‘Cheaper Than Free’ on KLOS.

[Cheaper Than Free]

JL: Wow. What a, I mean that is an absolutely perfect way to end that record.

SN: “What’s warmer than a sun-drenched land? Your hand.” 

JL: Yeah. Amen. Just that - Touch tells you so much, doesn’t it? 

SN: It does.

JL: The feel - And there’s another line in there: “More important than freedom is being needed”. Did I hear that correctly?

SN: You did. In some cases more important than being free is being needed. I think that we love to be needed, you know, and that doesn’t necessarily mean you have to be in a relationship to be needed. It just means that you as a person love to be needed. You know, I’m a caretaker. Um, somebody once said to me, a psychologist, “The saddest day of your life was when you joined Fleetwood Mac, because you ceased to be a caretaker. Because all of a sudden everybody wanted to take care of you.” And it’s true in a way.

JL: Oh yeah. 

SN: Because I love to, you know, when people are coming to my house, I’m in making the beds and they’re all perfect. They’re like the best hotel in the world. And that’s like my thing is making up the bed to be just beautiful, and the linens and the whole thing. It’s like I love that. And just preparing the rooms and making sure that everybody has exactly what they need, and I love that. It is important sometimes to be needed, and I thought that was an important line in this song.

JL: You know, it stuck to me, that’s for sure. Especially because you juxtapose it to a word that rock’n’roll considers sacred, and that’s ‘freedom’.

SN: Right.

JL: As we do as Americans.

SN: Right.
JL: And by god, I don’t care how old I am, I’m still going to be -

SN: I WILL be free.

JL: Exactly, exactly. But then being needed, um, that’s an interesting juxtaposition there. Glenn Frey once told me something that, I think it just came off the top of his head but I don’t know why it always stuck with me. He said, “It’s not always finding somebody to love you; it’s finding someone for you to love.”

SN: Right.

JL: I thought, ‘That’s - Yeah.’ It’s not all about what kind of love am I getting; it’s what kind of love can I give somebody. 

SN: Or what it brings out in you. 

SN: Yeah, we’re speechless.

JL: Well, you know, -

SN: For the first time in our life.

JL: Yeah. And there’s nothing wrong with that, you know. It’s, there’s nothing wrong with sitting with somebody who can actually put a thought together and making me think. That’s the, I love that part of it, you know. I do enough output here; it’s nice to get some new thoughts running around this old brain pan. Stevie Nicks is going to be at Amoeba Music at 6400 Sunset Boulevard in Hollywood, Wednesday at 6pm. She’s going to be signing copies of the new CD ‘In Your Dreams’. I also want to remind you to give a thought to the Wounded Warriors. Give a thought to the USO.

SN: Yes.

JL: Do what you can. Anything you want to say on that before we go?

SN: Um, I just want you to think about the fact that any one of these kids in the hospital could be your kid, and so send a little money because it could be your child. Um, and leaving that, because we’ve said a lot about it tonight, um, I would like you also to know that this little tour that I’m doing that starts on the 9th in Denver at Red Rocks, which of course I love because it’s such a crazy, spiritual, Indian place, that what I was telling you, that I did a showcase here at The Wiltern for 2,000 people. Um, and it was so great because in a showcase you are allowed to play new songs. Cos it’s a showcase.

JL: Right.

SN: Cos it’s risky, you know, usually. It’s like, it’s like I always think of, um, when we first did ‘Rumours’, we just thought it was so great that we just went out on the road and took everything from the first Fleetwood Mac ‘Fleetwood Mac’ record out, and just played the ‘Rumours’ record. Well we almost got booed off the stage, so we learned  - I know - we learned a lesson that night, that you have to, you know, you have to like spoon-feed this stuff, new stuff. So, um, but I was allowed to do new stuff cos it was a showcase. And the showcase was about two hours and ten minutes, and it was seven new songs with all the other old songs that you’re used to hearing. And I kind of sequenced them together in a real magical sequence, and this show was amazing. The reviews for the show were amazing, and I started to think, ‘You know what, I think I’m going to take The Wiltern set on the road.’ And that’s what I’m doing, so this tour, these dates that I’m doing in August, is not going to be the same old set that you’ve seen over the past five years since I was never going to do another record. Which is like the greatest hits tour AGAIN. This is not that. This is, this is this record placed into some great old songs. 

JL: And if I can encourage the audience to go with her on this, because artists, you know, they don’t want to sit there and do paint by numbers, you know. It’s not that - and I don’t mean to speak for you - but I’m sure it’s not that you don’t love Rhiannon, but you’ve played Rhiannon a billion times.

SN: Exactly. Listen, ‘Rhiannon’ goes into ‘Moonlight’ beautifully. 

JL: I’ll bet it does. 

SN: And ‘Gold Dust Woman’ goes into ‘Annabel Lee’ beautifully.

JL: You know, I’m going to write this down. *laughs*

SN: I know.

JL: You’ll hear that tomorrow on my show.

SN: I know. It’s my set. You’ll just be able to play my set right here. 

JL: Exactly.

SN: I worked a long time on the sequence for that, for The Wiltern set. And it’s a really great sequence. It’s like a great album sequence, with the new and the old. So I think people will love it and I hope so, because some would say I’m taking a risk and guess what? I don’t care. Because I love these songs and I am damn well going to go out on the road and play them.

JL: Amen. Well, I told you off the mic, I will tell you on the mic: for whatever it’s worth, this is the best work you’ve done to date. Period. And that says a lot, that says a lot.

SN: From you.

JL: Because you’ve done a lot of stuff, and I’ve been with you for a lot of it. But this is the best and I expect the next one to be better than this one. 

SN: Thank you.

JL: So let’s rock. Let’s go.

SN: And I will go there with you.

JL: Alright. Stevie Nicks, I love you. 

SN: Thank you, Jim Ladd.

JL: Thank you for coming in. 

SN: And don’t sell that house.

JL: I won’t, darling, I won’t. You gotta come back and help us decorate. A’ight. Stevie Nicks, a lady that will always be there, somewhere, in the twilight, in the mist, uh, just as your head is hitting the pillow. ‘In Your Dreams’.

[In Your Dreams]